Scream 4
by The Masked MiSTier
Summary: The First Movie sets the rules. The Second Movie breaks the rules. The Third Movie has two rules. But in the fourth movie, there's only one rule: EVERYBODY DIES!
1. Scream 4 part 1

FADE IN:  
  
EXT. MOVIE THEATER - NIGHT  
  
A gala event. Black limos pull up and drop off their  
passengers, all of them celebrities. We see BRAD PITT and  
JENNIFER ANISTON, SARAH MICHELLE GELLAR, JIM CARREY, among  
others.  
  
Photographer's camera's FLASH as the stars pose.  
  
ENTERTAIMENT REPORTER  
We're live outside the Hollywood  
Grand Theater, where the premiere  
of Stab 3 is about to begin. This  
movie is filled with controversy,  
and long legal battles to get it  
back into production after former  
director Roman Bridger went on a  
muderous rampage, killing the cast.  
And the studio has only one man to  
thank for getting it back on track,  
and here he is now! Mr. Parker! Mr.  
Parker!  
  
BLAINE PARKER walks into VIEW. On his arm is DEBRA YOUNG.  
  
BLAINE  
Yes, what can I do for you?  
  
ENTERTAIMENT REPORTER  
Blaine, tell the viewers at home  
just what you did to help make Stab  
3.  
  
BLAINE  
I wrote it, and I directed it, and  
I co-produced it.  
  
DEBRA  
He does a little bit of everything.  
  
BLAINE  
Yes I do.  
  
ENTERTAIMENT REPORTER  
How do you feel about the rumors  
that the real Sydney Prescott will  
be here tonight?  
  
BLAINE  
(smiles)  
Well, then I'd just have to meet  
her and get her autograph.  
(laughs)  
God knows I've written enough of  
her in Stab 3.  
  
He and Debra continue into the theater.  
  
Another limo pulls up. The door opens, and SYDNEY PRESCOTT  
steps out, followed by DEWEY and GALE RILEY, all dressed in  
their finest.  
  
DEWEY  
So this is what a movie premiere is  
like!  
  
GALE  
I know! I'll have to thank Wes for  
it.  
  
SYDNEY  
How did you get him to invite us?  
  
GALE  
An old favor.  
  
Dewey gives her a look.  
  
GALE  
Never mind.  
  
They walk down the red carpet, and into the theater.  
  
INT. THEATER - LOBBY  
  
A huge, cavernous lobby, full of people. Some sitting at the  
many round tables, other loitering around the buffet table.  
  
DEWEY  
I'm gonna go get something to eat.  
  
GALE  
I'm right behind you.  
(to Sydney)  
You want anything?  
  
SYDNEY  
No, I'll be fine.  
  
DEWEY  
More for me.  
  
He eagerly rushes over, grabbing a plate. Gale's right  
behind him.  
  
Debra walks over to Sydney.  
  
DEBRA  
Hey Sydney!  
  
SYDNEY  
Hey Deb.  
  
DEBRA  
Who were those two?  
  
Sydney looks over at Gale and Dewey. Dewey's looking over  
the food, not sure what to choose.  
  
SYDNEY  
What? You've never heard of Gale  
Weathers?  
  
DEBRA  
Oh, that's Gale. Who's the other?  
  
SYDNEY  
Dewey Riley.  
  
Debra watches him put a little bit of everything on his plate.  
  
DEBRA  
Quite a character. Blaine did a  
good job writing him.  
  
SYDNEY  
Yes. So where is this mysterious  
savior of Stab 3?  
  
DEBRA  
Sitting with us at our table.  
  
SYDNEY  
Us?  
  
DEBRA  
Me, Blaine, Dale, Karen, and Mark.  
You know, the four survivors and  
our screenwriter. You wanna meet him?  
  
SYDNEY  
Sure.  
  
Debra drags her over to the table.  
  
Blaine's sipping at a glass of champagne, while listening to  
a joke.  
  
MARK  
...gives the inkeeper three nails  
and says...  
  
BLAINE  
Can you put me up for the night.  
  
They laugh. Mark looks at Blaine.  
  
MARK  
Man, you stole my fucking joke.  
  
BLAINE  
And you stole it from The Crow.  
  
MARK  
Well, I guess that joke died a  
horrible death and had to be  
resurrected.  
  
More laughter.  
  
DEBRA  
Blaine.  
  
BLAINE  
Yeah, Deb?  
  
DEBRA  
I want to introduce you to Sydney  
Prescott.  
  
Blaine turns in his chair.  
  
BLAINE  
Hello...  
(notices Sydney)  
Hello.  
  
PAN from Sydney's feet to her face. A ravishing beauty in  
her red dress, with a slit up one leg, and open backed.  
  
SYDNEY  
Hi.  
  
BLAINE  
Have a seat.  
  
SYDNEY  
Thank you.  
  
She sits.  
  
Debra takes her seat next to Blaine.  
  
DEBRA  
Sydney's really wanted to meet you.  
  
BLAINE  
Likewise, I'm sure.  
  
SYDNEY  
I read your script. It was wonderful.  
  
BLAINE  
Really? Thank you very much.  
  
SYDNEY  
I wasn't sure if I was reading a  
story or my life.  
  
BLAINE  
(laughs)  
I am good, aren't I.  
  
Debra takes Blaine's arm.  
  
DEBRA  
He's one of the best in the business.  
  
SYDNEY  
Are you and Debra...  
  
DEBRA  
(laughs)  
Us? No. Just good friends.  
  
BLAINE  
I'm single. Just can't seem to find  
the right woman who will listen to  
me ramble on and on about my scripts.  
  
DEBRA  
And I'm not one of those women.  
  
Sydney laughs.  
  
BLAINE  
Not to start a rumor or anything,  
but I'm working on a Stab 4...  
  
OVER AT THE BUFFET  
  
Dewey looks over at Sydney, Blaine, Debra, Mark, Karen, Dale.  
  
DEWEY  
Hey, who's the guy talking to Sydney.  
  
GALE  
That's Blaine Parker. Hollywood's  
newest screenwriting gold mine. The  
guys a screenwriting genious.  
  
DEWEY  
He's the one that wrote Stab 3?  
  
GALE  
Yeah. I heard he was discovered in  
the gutter.  
  
DEWEY  
Oh yeah?  
  
GALE  
I also heard he was gay, and once  
was in a hardcore porn. So take  
your facts with a grain of salt.  
  
OVER AT THE TABLE  
  
SYDNEY  
Stab 4 huh?  
  
BLAINE  
Yeah. Can't talk about the plot  
yet, though.  
  
SYDNEY  
Uh huh.  
  
DALE  
Yo, Blaine, do you Stab Killer voice.  
  
BLAINE  
Not now.  
  
KAREN  
Oh come on.  
  
DEBRA  
(to Sydney)  
Blaine also did the voice of the  
killer in Stab 3.  
  
SYDNEY  
(to Debra)  
Wow.  
(to Blaine)  
So let's hear it.  
  
BLAINE  
Okay, fine.  
(in Killer voice)  
Hello Sydney. I hear you like scary  
movies. Well what's your favorite?  
  
The table laughs. Sydney just stares.  
  
SYDNEY  
That's really really good.  
  
BLAINE  
Just something I picked up.  
  
MARK  
Well, movie's about to start. Gotta  
get my seat. See ya two later.  
  
BLAINE  
Guess I will too. Us directors have  
to be punctual.  
  
SYDNEY  
I'll come with you.  
  
Gale and Dewey come over.  
  
Dewey has a plate full of food.  
  
GALE  
Hey, where're you goin'?  
  
SYDNEY  
To get our seats.  
  
DEWEY  
You're not gonna introduce us to  
your friend?  
  
Too late. They've already entered the theater.  
  
GALE  
I think Syd's in love.  
  
CLOSE UP - the Stab Killer carboard stand up... is it just  
us, or does it move a little?  
  
FADE OUT  
  
FADE IN:  
  
EXT. BRIDAL BOUTIQUE - NIGHT  
  
A nice, expensive, bridal store.  
  
BLAINE (O.C.)  
So it seem that they turned Stab 4  
down, but I'm okay with that. I can  
put it on the back burner and  
concentrate on my other pieces of  
work.  
  
CUT TO:  
  
CLOSE ON - TV  
  
Blaine is on Jay Leno.  
  
JAY  
So, I hear you have a marriage  
coming up?  
  
BLAINE  
Yes. To Sydney Prescott.  
  
JAY  
The person Stab is based off of?  
  
BLAINE  
Yeah.  
  
JAY  
You know, her past boyfriends all  
died.  
  
BLAINE  
Well then third time's the charm.  
  
Jay laughs.  
  
PULL BACK until we're  
  
INT. BRIDAL BOUTIQUE  
  
Sydney glances at the big screen in the corner.  
  
She's getting browsing for her gown.  
  
CAROL BABBETT is standing next to her.  
  
CAROL  
What about this one?  
  
She holds up a dress.  
  
SYDNEY  
No. It's too... I don't know. Normal.  
  
CAROL  
And that's not good?  
  
SYDNEY  
No. I want something different.  
  
She browses the shelves.  
  
SYDNEY  
Found it!  
  
She pulls a white wedding dress off the rack. It's white,  
shoulderless, open in the back.  
  
SYDNEY  
It's perfect! I'll take it.  
  
FADE TO:  
  
INT. SYDNEY AND BLAINE'S HOUSE  
  
Sydney's sitting on a large gray couch, sorting through the  
stack of Nightmare on Elm Street DVDs.  
  
She turns one of the cases over and reads the extra features.  
  
SYDNEY  
A screenplay viewer. Figures.  
  
She turs to look over her shoulder.  
  
SYDNEY  
Hey Blaine!  
  
BLAINE (O.C.)  
Yeah, Syd?  
  
SYDNEY  
You sure you want to watch all of  
these?  
  
BLAINE (O.C.)  
I'll watch 'em if you watch 'em.  
Just let me wash my hands.  
  
Running water off screen.  
  
The PHONE RINGS. Sydney picks it up, still holding the DVD  
case.  
  
SYDNEY  
Hello.  
  
MAN (PHONE)  
Hello Sydney.  
  
SYDNEY  
You...  
  
She drops the DVD.  
  
CLOSE - DVD - FALLING IN SLO MO  
  
MAN  
Freddy's Dead the Final Nightmare.  
Good choice in movies.  
  
Sydney looks at the Caller ID.  
  
SYDNEY  
Who are you?! Why are you calling  
me?!  
  
MAN  
I'm on a mobile, Sydney. It wo't  
show up on the Caller ID.  
  
Sydney finds the Caller ID. He's right. It says Wireless Call.  
  
SYDNEY  
Where are you?  
  
MAN  
Look behind you.  
  
She drops the phone and turns around.  
  
A KNIFE flashes toward her.  
  
She SCREAMS and closes her eyes, and then hears someone  
laughing.  
  
She opens her eyes and looks at the knife.  
  
PLASTIC.  
  
She looks at the "killer."  
  
SYDNEY  
Blaine Parker, you fucking bastard!  
  
BLAINE  
(in Killer voice)  
Got ya.  
  
She hits him in the arm.  
  
SYDNEY  
I outta kill you! I should've known  
it wasn't you! The voice sounded  
different.  
  
BLAINE  
No synthesizer.  
  
She hugs him.  
  
They kiss for a few moments.  
  
BLAINE  
I'm sorry. I was just trying to get  
into the whole horror movie mood.  
(noticing the dropped DVD)  
We ready for one last night of  
horror movie mayhem b efore the  
wedding?  
  
SYDNEY  
Can you stomach these? They're  
pretty gruesome, ad I did get the  
entire Nightmare on Elm Street  
series.  
  
Blaine picks up the dropped DVD.  
  
BLAINE  
Maybe I should read the script first.  
  
SYDNEY  
Oh come on.  
  
BLAINE  
Well, if I can sit through all the  
Halloween movies, I can sit through  
this.  
  
SYDNEY  
You threw up after each Halloween  
movie.  
  
BLAINE  
Yeah, but we had a good laugh.  
  
CUT TO:  
  
EXT. WOODSBORO UNIVERSITY - DAY - ESTABLISHING  
  
A grand brick building stands against the clear blue sky.  
  
Through one of the windows, we can SEE Blaine standing  
behind a podium.  
  
INT. SCREENWRITING CLASSROOM  
  
Blaine is standing a podium, as seen from outside, lecturing  
to a room full of students, each seated at a desk on "steps."  
  
They take notes while running mini tape recorders. Can't  
miss any good info.  
  
BLAINE  
Sequels, trilogies, and the  
continuing saga. That's the topic I  
want to discuss today, and in that  
order. To get a sequel, as most of  
you know, the first movie has to be  
a smash hit. Tae the horror genre.  
If the first movie is good, then of  
course the sequel can't be that far  
behind. Usually after the sequel,  
providing it raked in enough  
profit, a whole series of movies,  
no matter how horrible, are planned.  
I've experienced it personally with  
my finacee. Last ight we watched  
the entire Night on Elm Street  
collection. The night before it was  
Halloween, the ight before that, it  
was Friday the 13th, and the night  
before that, it was Evil Dead. I  
think the Howling was thrown in  
there somewhere too.  
  
Blaine begins walking back ad forth in front of his classroom.  
  
BLAINE  
Most horror movies, like those I  
mentioned, go for a whole series of  
seven, maybe eight movies, before  
disappearing off the face of the  
planet, such as what happened with  
Halloween H20, or the new Friday  
the 13th movie currently in  
production as we speak. The theme  
of these movies is usually the "you  
thought it was over" deal. Example,  
Halloween H20 took place twenty  
years after the Halloween series  
ended, and Jamie Lee Curtis's  
character, Laurie Strode, thought  
she had seen the last of her  
brother, Michael. It's usually the  
same. The characters think it's  
over and then... BLAM!  
  
The students jump. Blaine laughs.  
  
  
BLAINE  
Got ya, didn't I? Freddy, Jason,  
Michael Myers, the Evil from Evil  
Dead, or others suddenly reappear  
and the killing spree begins anew.  
How do these rehashes of the  
original plot of an old 1950s B-  
Movie make such a huge blockbuster  
hit?  
  
A STUDENT raises his hand.  
  
STUDENT  
Luck?  
  
The class LAUGHS. Blaine grins.  
  
BLAINE  
Good answer. Actually that's part  
of it. All movies go ito a theater,  
and only the lucky ones become hits.  
And the even luckier ones become  
sequels. But that's not all. You  
have to keep the script, and the  
movie, unpredictable. You have to  
add plot twists, and turns. You  
need to keep things new. Keep the  
audience guessing, but always  
guessing wrong. Always, always,  
always know your ending, and when  
you write, make all the plot points  
point away from actual ending. That  
way when the readers of your  
script, and if you lucky, viewers,  
will have an ending in their minds.  
An "Oh, I know what happens"  
thought in their heads, and then  
suddenly you deliver something  
bigger, something surprising,  
something no one has ever thought  
up before. Take the Sixth Sense for  
example. How many have seen it?  
  
A few students raise their hands.  
  
Blaine looks around. Not very many.  
  
BLAINE  
Not many. Rent it. I won't ruin it  
for you. Trust me, it's cool.  
  
CUT TO:  
  
EXT. SYDNEY AND BLAINE'S HOUSE - DAY  
  
A tall, white exterior with large bay windows in the foyer.  
MUSIC is blaring.  
  
A PHONE RINGS.  
  
INT. SYDNEY AND BLAINE'S HOUSE - KITCHEN  
  
Sydney is fixing a sandwich on the counter. A RADIO is  
playing music up at FULL BLAST.  
  
She moves to the beat of the music as she fixes her sandwich.  
  
The PHONE RINGS.  
  
Licking some mayonnaise off her fingers, she picks up the  
cordles.  
  
SYDNEY  
Hello?  
  
MAN (PHONE)  
Hello Sydney.  
  
Sydney opens the refridgerator and begins to rummage around  
for something.  
  
SYDNEY  
Blaine, is that you again? Listen,  
it's not funny...  
  
MAN  
Who? Oh, I see you're making a  
sandwich. Ham and cheese huh? The  
mustard is on the shelf.  
  
Sydney looks and spots the mustard. She picks up the bottle,  
and shuts the refridgerator door.  
  
SYDNEY  
Thanks...  
  
MAN  
I'm watching you Sydney.  
  
It finally hits Sydney who's on the other line.  
  
It's NOT BLAINE!  
  
She switches the phone to her other ear, a look of horror on  
her face.  
  
SYDNEY  
Why are you calling again?  
  
MAN  
I want to finish what Billy Loomis  
started oh so long ago.  
  
Sydney checks the Caller ID.  
  
SYDNEY  
Nice try, George W. Harding.  
  
MAN  
He's right here, hanging by a hook.  
  
The Caller ID number is suddenly ERASED.  
  
SYDNEY  
Oh shit.  
  
A NOISE, like someone walking, is heard.  
  
Sydney backs up against the counter. She's starting to  
hyperventilate.  
  
A BLACK CLOAK disappears around a corner in the house.  
  
MAN  
I'm in the house, Sydney. I think  
I'll be nice and give you a five  
second head start. 1... 2...  
  
Sydney drops the phone, and runs, grabbing her keys on the  
way out.  
  
EXT. SYDNEY AND BLAINE'S HOUSE - DRIVEWAY - DAY  
  
Sydney rushes to her blue Accord parked in the driveway ad  
opens the door to the car. She gets in ad slams the door.  
  
INT. CAR - VIEW THROUGH WINDSHIELD.  
  
The ghost face killer stares at her through one of the big  
foyer windows.  
  
EXT. DRIVEWAY - DAY  
  
Sydney quickly starts the car and peels out of the driveway.  
  
EXT. STREET - DAY  
  
FOLLOW THE CAR as we  
  
DISSOLVE TO:  
  
INT. SCREENWRITING CLASSROOM  
  
Blaine is still lecturing, and the students are still taking  
notes and recordings.  
  
BLAINE  
I hope many of you will take what  
I've said here to heart. Not only  
for your purpose, but it's F'n hard  
trying to come up with this stuff.  
  
The class laughs.  
  
BLAINE  
This information, and more of which  
will come tomorrow, will help all  
of you when midterm time comes  
about. Your midterm is to write an  
outline of a movie, which I will  
describe and teach tomorrow. I  
expect you all here. And while I'm  
giving away midterms, why not  
finals as well. Make sure you do  
well on your outline. You're going  
to be writing a full screenplay  
with it.  
  
He glances at the door.  
  
BLAINE'S POV  
  
Sydney is standing in the doorway, panic stricken.  
  
BLAINE  
That's all for today. Class  
dismissed.  
  
The students shut off their mini recorders and gather their  
things and pile out of the room.  
  
An attractive FEMALE STUDENT passes Blaine on the way out.  
  
FEMALE STUDENT  
Bye Mr. Parker.  
  
BLAINE  
Bye Lauren.  
  
When they're gone, Blaine begins to put his stuff away.  
  
Sydney rushes up to him.  
  
SYDNEY  
He's back!  
  
Blaine turns and looks at her.  
  
BLAINE  
Ghost Face?  
  
Sydney nods.  
  
SYDNEY  
He was in the house. I thought he  
was gonna kill me.  
  
He holds her, rubbing her back.  
  
BLAINE  
You go to the police. I'll check  
the house.  
  
EXT. SYDNEY AND BLAINE'S HOUSE - DAY  
  
Blaine pulls up in his red Lexus.  
  
INT. SYDNEY AND BLAINE'S HOUSE - FOYER  
  
Blaine opens the door.  
  
He tries the lights. Nothing.  
  
BLAINE  
Figures. Common horror movie trick.  
  
He opens a nearby closet and retrieves his gun from the top  
shelf. He makes sure there's a loaded clip in it and chambers  
a round.  
  
INT. SYDNEY AND BLAINE'S HOUSE - LIVING ROOM - CONTINUOUS  
  
Blaine walks down the step into the sunken living room, gun  
at the ready.  
  
He starts toward the dining room and kitchen area when his  
cell phone rings.  
  
He flips it open.  
  
BLAINE  
Hello?  
  
MAN (PHONE)  
Stupid... very stupid... to be  
alone in the dark.  
  
BLAINE  
(angry)  
Listen you sick fuck, you can do  
all you want to to me, but you stay  
the hell away from Sydney!  
  
MAN  
Oh, Sydney is safe... for now. But  
I think I'll take you up on that  
offer.  
  
Someone knocks into Blaine from behind and they both go down.  
  
EXT. SHERIFF'S DEPARTMENT - DAY  
  
Sydney pulls up outside the old building.  
  
INT. CAR  
  
She spots Sheriff Dewey getting out of his patrol car.  
  
SYDNEY  
Thank God Dewey's here.  
  
EXT. SHERIFF'S DEPARTMENT - DAY  
  
She gets out of her car and runs to him.  
  
SYDNEY  
Dewey! Hey, Sheriff Riley!  
  
Dewey turns around and removes his sunglasses.  
  
DEWEY  
Oh, hey Syd. What's up?  
  
SYDNEY  
He's back!  
  
DEWEY  
Who?  
  
SYDNEY  
Him... Dewey...  
  
Dewey's face goes pale.  
  
DEWEY  
Get inside.  
  
INT. SHERIFF'S DEPARTMENT  
  
Dewey and Sydney enter through the wooden double doors, amid  
the hustle and bustle of small town police work.  
  
Sydney finds a chair next to a desk and sits.  
  
Dewey calls over a deputy.  
  
DEWEY  
Deputy Smith, could you get Syd a  
glass of water.  
  
DEPUTY SMITH  
Yes sir.  
  
He runs off.  
  
Dewey turns back to Sydney. He sits in a chair across from  
her.  
  
DEWEY  
Tell me about the killer. Any and  
everything you remember.  
  
SYDNEY  
Well I was at home, alone, fixing  
something to eat when the phone  
rang. I picked it up and he said  
"Hello Sydney." I thought it was  
Blaine pulling that stipid joke  
again, but it wasn't. He was in the  
house Dewey, I saw him...  
(beat)  
saw him watching me as I left.  
  
She starts shaking.  
  
The deputy returns with the water.  
  
Sydney accepts the cup and drinks some of the water.  
  
She's still shaking.  
  
DEWEY  
Where was Blaine?  
  
Sydney looks at him, surprised.  
  
SYDNEY  
You not thinking he called...  
  
DEWEY  
Everyone's a suspect.  
  
SYDNEY  
He was in a class. Ask any of his  
students. That's where I found him.  
  
DEWEY  
Where is he now?  
  
Sydney's eyes widen.  
  
SYDNEY  
At home...  
  
Dewey stands.  
  
DEWEY  
Deputy Smith!  
  
DEPUTY SMITH  
Sir?  
  
DEWEY  
Grab your gun. We're going to..  
  
The doors open and Blaine stumbles in, looking beat up and  
bruised with a few minor cuts, but alive.  
  
He takes a step forward and nearly falls. Dewey catches him  
and helps him to a chair.  
  
Sydney takes his hand.  
  
SYDNEY  
What happened.  
  
Blaine takes a deep breath and grins.  
  
BLAINE  
I got into a fight with your  
"Ghostface." Basically I bashed him  
in the head with my gun, and ran  
like the hounds of Hell were after  
me. I didn't look back.  
  
DEWEY  
You're lucky to be alive.  
  
BLAINE  
I know. But in my movies the main  
characters never die till last.  
  
They both look at him.  
  
BLAINE  
Never mind.  
  
SYDNEY  
I just want to go home.  
  
DEWEY  
The guy's probably gone by now.  
Still, though, maybe I should crash  
there tonight. Sleep on the couch  
to keep lookout.  
(assumes a Barney  
Fife stance)  
I'm trained ya know.  
  
They laugh.  
  
INT. SYDNEY AND BLAINE'S HOUSE - LIVING ROOM  
  
Sydney places a pile of blankets on the couch.  
  
Dewey is sitting in an easy chair watching Sports Center.  
  
SYDNEY  
Will you be comfortable?  
  
DEWEY  
I'll be fine. I've slept in worse  
places than this.  
  
SYDNEY  
Gee, thanks.  
  
She laughs.  
  
SYDNEY  
Good night Dewey.  
  
DEWEY  
Night Syd.  
  
Sydney walks off down the hallway.  
  
INT. BEDROOM - LATER  
  
Sydney is lying in bed, very much awake, staring at the  
ceiling.  
  
Next to her, Blaine rolls over.  
  
BLAINE  
What's wrong love? What's on your  
mind?  
  
SYDNEY  
This whole Ghostface thing. It's...  
it's like living all that over  
again. I'm scared.  
  
BLAINE  
Don't worry about Mr. Dime Shop  
Costume. You got Dewey downstairs,  
with a gun, and police training.  
You have me, right here, with a gun  
in the closet downstairs and one in  
the nightstand, and a guy who can  
throw a punch with the best of 'em.  
No maniac is going to get by us.  
  
He gathers her in his arms and she snuggles against him. He  
kisses her.  
  
SYDNEY  
I guess you're right.  
  
BLAINE  
When am I ever wrong?  
(beat)  
Now go to sleep.  
  
SYDNEY  
I can't.  
  
BLAINE  
I'll get you something to drink.  
  
He gets up.  
  
INT. KITCHEN  
  
Blaine walks into the kitchen and flips on the light. He  
blinks as his eyes adjust and then walks over and opens the  
refridgerator.  
  
The sound of a gun cocking makes him stand straight.  
  
DEWEY  
Halt, who goes there?  
  
BLAINE  
It's me.  
  
DEWEY  
(puts gun away)  
I've always wanted to do that. So  
what are you doing up All High  
Screen Master?  
  
Blaine laughs.  
  
BLAINE  
Syd can't sleep, so I'm getting her  
a glass of milk.  
  
Dewey goes to a cabinet and opens it.  
  
DEWEY  
You guys have a coffee pot anywhere?  
  
BLAINE  
Cabinet over the sink.  
  
Dewey opens the cabinet and grabs the pot as Blaine opens a  
different cabinet and grabs a mug. He pours in the milk and  
replaces the gallon in the refridgerator.  
  
He turns to Dewey who is running the water for his coffee.  
  
BLAINE  
'Night Dewey.  
  
DEWEY  
'Night B.  
  
CUT TO:  
  
INT. APARTMENT - LIVING ROOM - NIGHT  
  
Karen Carter, from the beginning of the movie and the Stab 3  
cast, is sitting on the couch wearing a see through nightie.  
  
She's talking on the phone.  
  
The TV is turned on, but the volume is muted.  
  
KAREN  
... and then what?  
(beat)  
I can't believe he said that!  
(beat)  
He did what?!  
  
There's a TONE on the phone.  
  
KAREN  
Could you hang on? I have another  
call.  
(switches lines)  
Hello?  
  
MAN (PHONE)  
Hello. What's your name?  
  
KAREN  
Karen.  
  
MAN  
Oh. Who else are you talking to?  
  
KAREN  
A friend.  
  
MAN  
You have a very sexy voice.  
  
KAREN  
Thank you.  
  
MAN  
I love the nightie you're wearing.  
See through. Very nice.  
  
Karen looks up at the windows.  
  
KAREN  
What?  
  
MAN  
I love the nightie. It'll look good  
(full of menace)  
covered in your blood.  
  
She hangs up.  
  
The phone RINGS.  
  
She answers.  
  
MAN  
Why did you hang up on me? That  
wasn't very nice. I might not be  
very nice to you now.  
  
KAREN  
(screaming)  
QUIT CALLING ME!  
  
She hangs up.  
  
It rings again.  
  
She let's it ring.  
  
The answering machine picks up.  
  
ANSWERING MACHINE VOICE (MR. CARTER)  
Hi. We can't come to the phone  
right now, so please your name and  
number after the beep and we'll get  
back to you.  
  
BEEP!  
  
FRIEND (ANSWERING MACHINE)  
Karen? Karen are you there? What  
happened? Please pick up.  
  
Karen sighs in relief.  
  
She picks up the phone.  
  
MAN  
(very evil)  
I TOLD YOU YOU LITTLE BITCH! I TOLD  
YOU NOT TO HANG UP THE PHONE! BUT  
YOU STILL HAD TO GO AND DISOBEY!  
I'm going to have to punish you now.  
  
The door to the balcony slides opens.  
  
Karen slowly gets up and walks over to the open door.  
  
She peers out.  
  
KAREN'S POV  
  
outside, the wind is blowing... but there is nothing and  
nobody there.  
  
NORMAL POV  
  
She sighs and slides the door shut.  
  
She turns away from the door and...  
  
THE GHOSTFACE KILLER LEAPS OUT OF THE SHADOWS!  
  
Karen screams as the Ghostface stands over her. He has a gas  
can in his gloved hands. He empties its contents all over her.  
  
INT. APARTMENT BEDROOM  
  
Karen's parents are awakened by the sound of Karen's  
screaming.  
  
MR. CARTER  
What was that?  
  
MRS. CARTER  
Oh my God! Karen!  
  
They hop out of bed and rush out of the room...  
  
INT. SPIRAL STAIRCASE - CONTINUOUS  
  
... and down the stairs. 


	2. Scream 4 part 2

INT. LIVING ROOM - CONTINUOUS  
  
The Ghostface killer shoves the balcony door open.  
  
KAREN  
Please... no.  
  
He pulls back his cloak.  
  
CLOSE - A BLOWTORCH  
  
rests in his belt.  
  
The Ghostface shoves Karen out onto the balcony and lights  
the torch.  
  
EXT. BALCONY - NIGHT  
  
Her clothes are engulfed first, then her hair is set ablaze,  
and finally she is engulfed in a huge fireball.  
  
INT. LIVING ROOM  
  
The killer slides shot and locks the balcony door.  
  
EXT. BALCONY - NIGHT  
  
Karen, ablaze, and screaming in pure agony, pounds on the  
door, desperate to be let back in and to end her pain.  
  
Finally, in a fit of insanity brought on by the pain, she  
hurls herself over the railing, desperate to end the pain.  
  
THROUGH THE BALCONY DOOR  
  
we see Mr. and Mrs. Carter reach the landing only in time to  
watch Karen disappear over the rail.  
  
INT. LIVING ROOM  
  
MRS. CARTER  
OH MY GOD! NO!  
  
Mr. Carter moves toward the door...  
  
BUT A KNIFE FLASHES OUT OF THE SHADOWS!  
  
Mr. Carter suddenly has the large carving knife stuck to the  
hilt in his forehead.  
  
Brain matter, bits of skull, hair, flesh, and blood fall to  
the floor as the knife is pulled out.  
  
Mr. Carter keels over, dead (No shit right?)  
  
Mrs. Carter is in hysterics.  
  
The Ghostface flees.  
  
INT. SYDNEY AND BLAINE'S HOUSE - DINING AREA - NEXT MORNING  
  
Blaine is placing papers in his briefcase on the table.  
  
Through the door OVER HIS SHOULDER we can see the kitchen,  
and can HEAR the sounds of FRYING EGGS AND BACON.  
  
We canm also faintly make out the sound of an early morning  
NEWS BROADCAST.  
  
SYDNEY (O.C.)  
Where'd Dewey go?  
  
BLAINE  
Had to go back to the station.  
Something about a lost set of keys  
to a cruiser.  
  
SYDNEY (O.C.)  
Oh.  
(beat)  
When will you be home?  
  
BLAINE  
(sighs)  
Not until late. I have to finish  
reading and grading these papers on  
why my students decided to be  
screenwriters, and then a faculty  
meeting.  
(mutters)  
Last time I don't give them a page  
limit.  
  
Sydney walks into the dining area, still in her long blue  
nightgown.  
  
She walks up behind him and puts her arms around his neck  
and rests her head on his shoulder.  
  
SYDNEY  
Damn.  
  
Blaine turns around and kisses her deeply.  
  
She pushes into it.  
  
He pushes her onto the table, him on top.  
  
The phone RINGS.  
  
SYDNEY  
(breathy)  
The phone...  
  
BLAINE  
Let the machine get it.  
  
The machine clicks.  
  
ANSWERING MACHINE VOICE (BLAINE)  
This is Blaine Parker, I'm off in a  
class right now, so leave your  
name, number, and whether or not  
this is about a screenwriting  
project I gave you after the beep.  
See ya.  
  
DEWEY (ANSWERING MACHINE)  
Syd? Syd, ya there? I know you're  
there Syd!  
  
Blaine's hand snakes under her nightgown. Sydney props  
herself up by her elbows and their lips lock again.  
  
DEWEY  
Turn on the news! There's been a  
murder!  
  
If that didn't ruin the mood, then nothing will.  
  
Sydney's eyes open wide and she shoves Blaine off and rushes  
into the kitchen.  
  
ON TV  
  
Mrs. Carter, surrounded by reporters, and camera men from  
various stations and station affiliates, is giving her  
statement.  
  
MRS. CARTER  
(crying)  
It was horrible! The last thing I  
saw of my precious Karen was her  
falling off the balcony!  
  
REPORTER #1  
Who do you think is responsible for  
the murder of your daughter and  
husband?  
  
MRS. CARTER  
(hard)  
It's all that Sydney Prescott's  
fault! The way she had to come back  
to Woodsboro and the way she's  
publicized her marriage to that  
screenwriter! If it wasn't for  
them, my precious Karen and my dear  
Paul would still be alive! I told  
her not to accept that part in Stab  
3!  
  
PULL BACK UNTIL WE'RE  
  
INT. SYDNEY AND BLAINE'S HOUSE - KITCHEN  
  
Sydney is watching the small TV propped up in the corner by  
the stove.  
  
She has her arms crossed. She looks upset.  
  
Blaine walks up behind her and wraps her arms around her  
waist.  
  
BLAINE  
It's not your fault.  
  
SYDNEY  
Karen was going to be one of my  
bridesmaids.  
  
She turns and buries her face in his shoulder and cries.  
  
BLAINE  
I knew Stab 3 would produce copy  
cat killers, but after five years...  
(beat)  
I'll skip that stupid meeting so we  
can go have a nice, quiet, romantic,  
murder free dinner for two.  
  
Sydney pulls her face out of his shoulder and wipes the  
tears away.  
  
She looks into his eyes.  
  
SYDNEY  
You're so good to me.  
  
BLAINE  
I really didn't want to sit around  
and listen to some old fossils  
discuss the budget over new lab  
equipment anyways.  
  
Sydney smiles.  
  
Blaine kisses her.  
  
BLAINE  
Be ready at eight. I'll make the  
reservations from my office.  
  
INT. BLAINE'S OFFICE - WOODSBORO UNIVERSITY - NIGHT  
  
A normal looking office, filled with all the necessary items  
any college professor would need, and of course, a stack of  
screenplays on seemingly every surface.  
  
Blaine sat behind his desk, making the reservations by phone.  
  
He had a stack of papers in front of him.  
  
BLAINE  
Yeah, 8 pm.  
(beat)  
Under Parker.  
  
There's a KNOCK on the door.  
  
Blaine puts his hand over the reciever.  
  
BLAINE  
It's open!  
(into phone)  
Okay, thanks.  
  
He hangs up and turns in his chair to face the doorway.  
  
BLAINE  
Can I help you...?  
  
THE GHOSTFACE is standing in front of the closed door, a  
large knife in his gloved hand.  
  
Blaine goes pale.  
  
BLAINE  
Oh shit.  
  
The killer dives at Blaine, the knife plunging toward his  
chest.  
  
Blaine grabs the killer's knife arm and somersaults him onto  
the desk.  
  
He tries to punch the Ghostface, but the killer springs to  
his feet.  
  
Blaine grabs a PAPERWEIGHT off his desk just as the killer  
brings the knife to bear again.  
  
The Ghostface slashes at Blaine, but he turns and the knife  
cuts into his right arm, leaving a deep cut that immedietly  
begins to ooze blood.  
  
BLAINE  
Ow!  
  
The killer shrugs and Blaine rings his bell with the  
paperweight.  
  
Using his good left arm, Blaine hurtles the Ghostface into a  
shelf.  
  
Books and other knickknacks falls off the shelf and onto the  
killer's head.  
  
Holding his cut arm, Blaine kicks the door open and stumbles  
out.  
  
INT. HALLWAY  
  
Blaine stumbles into a group of students and faculty members  
who came to check out the ruckus from inside.  
  
STUDENT #1  
Professor Parker, what happened?  
  
BLAINE  
Killer... Ghosface with the mask,  
and the knife... BIG knife!  
  
FACULTY MEMBER #1  
Where?  
  
BLAINE  
In the office!  
  
Blaine moves his hand away from his arm.  
  
Blood splashes onto the carpet.  
  
STUDENT #2  
Oh my God!  
  
STUDENT #1  
Somebody call 911!  
  
Student #1 and Faculty Member #1 rush to check Blaine's  
office for the assailant.  
  
INT. BLAINE'S OFFICE  
  
The two enter the office, only to find papers scatters,  
objects thrown about, a shelf broken, and Blaine's blood.  
  
Other than that...  
  
NOTHING.  
  
SMASH CUT TO:  
  
EXT. HOSPITAL PARKING LOT - NIGHT  
  
It's a mad house of reporters, news trucks, and camera men,  
all bearing a variety of channel numbers and logos.  
  
People are yelling things to everybody, and scrambling to be  
the first to break the story.  
  
The next scene is done entirely in a TV CAMERA POV shot.  
  
ON THE SPOT REPORTER #1  
We're here live at Woodsboro  
Memorial...  
  
QUICK CUT TO:  
  
ON THE SPOT REPORTER #2  
... for channel 5 new, where Sydney  
Prescott's soon to be husband, the  
writer/director/producer/professor  
  
QUICK CUT TO:  
  
ON THE SPOT REPORTER #3  
... Blaine Parker was admitted  
earlier tonight when he was  
reportedly attacked...  
  
QUICK CUT TO:  
  
ON THE SPOT REPORTER #4  
By what people have been calling  
the Real Life Stab Killer. This is  
the second...  
  
QUICK CUT TO:  
  
ON THE SPOT REPORTER #5  
... time he has been attacked, and  
this is the first time he was  
actually injured...  
  
QUICK CUT TO:  
  
ON THE SPOT REPORTER #6  
Details of his injuries have not  
been released...  
  
QUICK CUT TO:  
  
ON THE SPOT REPORTER #7  
... but as soon as they are, you'll  
be sure to get them first if you  
stay with...  
  
The names and numbers of all the channels run together as  
we...  
  
CUT TO:  
  
INT. SYDNEY AND BLAINE'S HOUSE - LIVING ROOM  
  
Sydney is all dressed up in a gold and silver gown, all made  
up, ready for her night on the town with Blaine.  
  
Her hair was curled into a tight bun on the back of her  
head, her lips were a deep red, her eyelids a dark blue. She  
wore a diamond choker around her neck and a pair of diamond  
earrings...  
  
And yet she paced like a caged tiger, a phone to her ear.  
  
SYDNEY  
I don't know where he is Carol. He  
said he was going to be home at 7.  
(she turns to check  
the clock on the VCR)  
It's already 8:45. I'm getting  
worried. He always calls if he's  
going to be late.  
  
INTERCUT WITH:  
  
INT. CAROL BABBETT'S KITCHEN  
  
Carol Babbett, late 30s, Blaine's agent, sits at her kitchen  
table with a cordless phone against her ear.  
  
CAROL  
Blaine can take care of himself.  
He'll be there.  
  
SYDNEY  
I'm getting scared Carol. There's  
already been a double murder, and  
he's already been attacked once.  
What if he's been attacked again  
and is now the third victim just  
waiting to be discovered?  
  
CAROL  
Now Sydney, that's crazy talk. You  
sound like Blaine when he's writing  
one of his scripts. Don't think  
about things like that. I'll only  
make it worse. Besides, some maniac  
with a knife can't take down Blaine.  
If he's late, he's probably got a  
good reason.  
  
SYDNEY  
I know, I know. But the last time  
these things happened I lost both  
my boyfriends. I don't want to lose  
my finacee too.  
  
CAROL  
Sydney, I'm warning you. Blaine's a  
big boy. When he walks through that  
door, demand to know where he's been.  
  
SYDNEY  
(smiling)  
I'll make sure to do that.  
  
CAROL  
He's probably beating the living  
shit out of the bastard as we speak.  
  
END INTERCUT  
  
INT. SYDNEY AND BLAINE'S HOUSE - LIVING ROOM  
  
SYDNEY  
Probably.  
  
There's a frantic KNOCK KNOCK KNOCK KNOCK KNOCK KNOCK KNOCK!  
at the door.  
  
Sydney walks up the step to..  
  
INT. FOYER  
  
She peeks out the window through the closed blinds.  
  
SYDNEY'S POV  
  
Gale Weathers is standing out the house.  
  
NORMAL POV  
  
Sydney opens the door.  
  
SYDNEY  
Gale? What is it?  
  
GALE  
(frantic)  
Syd, Dewey told me to come get you.  
Blaine's in the emergency room!  
  
CAROL (PHONE)  
Syd, who was at the door?  
  
SYDNEY  
(into phone)  
Blaine's good reason.  
  
INT. EMERGENCY ROOM  
  
Blaine is sitting on the hospital bed in his own private,  
overly white room.  
  
The divider is drawn.  
  
An E.R. Doctor is stitching his deep knife wound.  
  
Dewey is sitting on a stool in front of him.  
  
BLAINE  
I'm lucky I turned.  
  
DEWEY  
That's twice you got away. That's  
not lucky. That's a miracle. What's  
your secret?  
  
BLAINE  
I had to study the original murders  
for Stab 3 and my Stab 4 script. I  
learned a few things about the  
killer and his tactics. Besides, in  
LA you need to know how to protect  
yourself.  
(looks at the doctor)  
You almost done?  
  
E.R. DOCTOR  
You're lucky you got here when you  
did. Anymore blood loss and you  
would have needed a transfusion.  
I'm almost done, so be quiet and  
sit still.  
  
DEWEY  
Who would've thought that you come  
in handy? You need to teach me some  
of that stuff.  
  
Blaine gives a one shoulder shrug.  
  
BLAINE  
All you need to know is to hit him  
with something heavy and run like  
hell.  
  
Sydney pulls back the divider and rushes into the room.  
She's wearing an unmatching pair of slacks and shirt. Her  
face is still heavily made up.  
  
A nurse and Gale follow.  
  
NURSE  
I'm sorry. I tried to stop her, but  
there so many reporters...  
  
BLAINE  
It's okay. She's not a reporter.  
She's my finacee.  
  
NURSE  
Oh. I'm sorry.  
  
The nurse leaves.  
  
Dewey stands so Sydney can sit on the stool.  
  
She takes Blaine's left hand.  
  
Dewey pulls Gale out into the hall.  
  
INT. EMERGENCY ROOM HALLWAY  
  
GALE  
I got here as fast as I could.  
Those reporters outside slowed us  
down wanting to interview Sydney. I  
was afraid you would be done and  
gone by the time we got here.  
  
DEWEY  
How could we leave with all those  
reporters out there waiting to eat  
up whatever injury Blaine recieved?  
  
GALE  
I'm worried about him.  
  
DEWEY  
Me too. Goddammit I wish these  
things would just fucking stop!  
Three times this has happened and  
each time I though Syd would go  
over the edge. She always loses so  
much.  
  
GALE  
Me too. For Sydney's sake. For all  
our sakes.  
  
INT. BLAINE'S EMERGENCY ROOM  
  
SYDNEY  
What happened?  
  
BLAINE  
That stupid studio reject got me  
again. Only got my arm this time. I  
think I gave him a concussion, or  
at least fractured his skull. I  
don't know. The killer was gone  
when they searched my office, but I  
swear I hit that son of a bitch  
hard. I don't see how he could've  
gotten away, let alone remembered  
how to walk.  
  
SYDNEY  
At least you're okay.  
  
BLAINE  
Soon as they're done with me we'll  
go have our dinner.  
  
SYDNEY  
You sure you're up to it?  
  
BLAINE  
I'm not going to let a couple of  
stinking stitches stop me from  
showing my sweetheart the time of  
her life.  
(beat)  
Although my plans for afterwards  
are shot to hell.  
  
INT. CAROL BABBETT'S LIVING ROOM  
  
Carol is curled up on the coutch watching TV.  
  
It's NICK AT NITE.  
  
The phone RINGS.  
  
Carol picks it up off the floor.  
  
CAROL  
Hello?  
  
MAN (PHONE)  
Bored?  
  
CAROL  
Who is this?  
  
MAN  
Just a bored person making phone  
calls.  
  
CAROL  
(annoyed)  
No, I don't have Prince Albert in a  
can and yes, my refridgerator is  
running, but I'm not going to go  
catch it.  
  
MAN  
(hurt)  
I wasn't pranking. I just want to  
talk.  
  
CAROL  
So use the Internet.  
  
She hangs up.  
  
The phone RINGS again.  
  
She answers.  
  
MAN (PHONE)  
(angry)  
I DON'T APPRECIATE BEING HUNG UP ON!  
Just ask Karen Carter.  
  
Carol's eyes go wide.  
  
CAROL  
You're that copy cat! I'm calling  
the police.  
  
She hangs up.  
  
The phone RINGS.  
  
Carol doesnt answer.  
  
The machine CLICKS.  
  
ANSWERING MACHINE VOICE (CAROL)  
Hi, this is Carol, I'm not in right  
now so leave your name and number  
after the beep.  
  
BEEP.  
  
MAN (ANSWERING MACHINE)  
(pure evil)  
I TOLD YOU I DON'T TOLERATE PEOPLE  
HANGING UP ON ME!  
(conversational)  
You know, the beauty of cell phones  
is that I can call from  
(beat)  
anywhere.  
  
Carol looks around.  
  
She's absolutely terrified now.  
  
She gets up and walks to...  
  
INT. FOYER  
  
She LOCKS the front door.  
  
MAN (ANSWERING MACHINE, O.C.)  
Our conversation is over.  
  
CLICK!  
  
INT. KITCHEN  
  
Carol approaches the back door and reaches for the lock when  
the door  
  
SUDDENLY BURSTS OPEN!  
  
Carol screams and backs away quickly so the door doesn't hit  
her.  
  
Standing in the door frame is  
  
THE GHOSTFACE.  
  
Carol turns to run but the Ghostface grabs her shoulder.  
  
She stomps on his foot and he releases her.  
  
He hops up and down, holding his foot.  
  
Carol hightails it out of the kitchen.  
  
The Ghostface hobbles after her.  
  
She throws down a trash can at the entrance to the kitchen.  
  
The killer trips over it and falls flat onto the floor.  
  
INT. LIVING ROOM  
  
Carol runs around the sofa as the killer recovers and comes  
after her.  
  
He corners her on one side of the couch while he stands at  
the opposite.  
  
She tries to run left but he matches her every move.  
  
She finally fakes left and he goes left. She bolts right and  
into the kitchen again.  
  
INT. KITCHEN  
  
Carol waits for the killer to enter the kitchen before she  
brings one of her kitchen chairs down over his head. The  
chair explodes into shards of wood.  
  
The killer falls in a heap.  
  
Carol throws open the door to the garage.  
  
INT. GARAGE  
  
There are no cars in the garage.  
  
She hits the garage door opener on the wall.  
  
The closed doors begin to rumble upward.  
  
She glances back over her shoulder.  
  
CAROL'S POV  
  
The Ghostface is slowly getting to his feet.  
  
NORMAL POV  
  
Carol runs for the slowly opening garage door.  
  
The killer enters the garage and looks at the garage door  
and the running Carol.  
  
He hits the button and the garage door starts to close.  
  
CAROL  
NO!  
  
She dives under the closing garage door...  
  
BUT HER ANKLE GETS CAUGHT AS THE DOOR HITS THE GROUND!  
  
EXT. DRIVEWAY - NIGHT  
  
Carol's ankle is stuck. She's trapped.  
  
She tries to pull her foot out, but she can't pull it free.  
  
The door to her house opens.  
  
She looks up.  
  
The killer begins to the calmly walk out the front door and  
down the porch steps. She watches in horror as a CROWBAR  
slides from inside his sleeve.  
  
He holds it one hand and kicks it as he walks.  
  
CAROL  
(sobbing)  
Please just leave alone! Don't kill  
me! For the love of Christ PLEASE  
DON'T KILL ME!  
  
She's screaming and crying hysterically as the Ghostface  
leisurely strolls down the walk.  
  
CAROL  
(screaming)  
SOMEBODY PLEASE HELP ME! SOMEBODY!  
  
The Ghostface approaches her and stands by her head. He sets  
the crowbar next to her temple and mimics taking a few  
practice swings with a golf club.  
  
He puts his finger to the mouth of his ghost mask and  
"licks" it. He holds it in the air and adjust accordingly.  
  
He looks at Carol and holds up four fingers.  
  
CAROL  
(quieter)  
Please... no.  
  
CLOSE ON  
  
the crowbar as it's raised in the perfect golf swing.  
  
HOLD ON  
  
the spot where the crowbr was as it swings down.  
  
PAN UP TO THE MOON  
  
as we hear Carol's agonized screaming and the sick, crunching  
sound of heavy metal on bone.  
  
A splash of blood flies into the air and if the moon turned  
red.  
  
All then goes silent.  
  
RIPPLE FADE TO:  
  
INT. SYDNEY AND BLAINE'S HOUSE - LIVING ROOM - NEXT MORNING  
  
Sydney is sitting on the couch, a cup of steaming tea on the  
coffee table.  
  
She's crying softly.  
  
CLOSE ON THE COFFEE TABLE  
  
A newspaper, with the headline "GHOSTFACE KILLER STRIKES  
AGAIN."  
  
Sydney is just staring at those big, bold, black words  
printed on the page. Just staring with tears streaming down  
her cheeks.  
  
EXT. WOODSBORO UNIVERSITY - PARKING LOT - DAY  
  
Blaine pulls up in his car and steps out, gingerly slipping  
his arm into a sling.  
  
He's immedietly flocked upon by reporters and news crews.  
  
He's bombared with questions as he shoves his way through.  
  
REPORTER #1  
Blaine, can you tell us anything on  
your injuries.  
  
BLAINE  
It was a stratch.  
  
REPORTER #1  
A scratch that required one hundred  
and twenty six stitches?  
  
BLAINE  
What can I say? It was a deep  
scratch.  
  
REPORTER #2  
How does it feel returning to the  
place where you were attacked?  
  
BLAINE  
I was attacked at home too. I feel  
fine.  
  
EXT. WOODSBORO UNIVERSITY - MAIN HALL - STEPS - CONTINUOUS  
  
Blaine reaches the top of the steps outside the main hall of  
the university.  
  
He turns to the reporters still following him.  
  
BLAINE  
All I want to do is get from my car  
into my classroom without having to  
play running back through a group  
of linebackers. Why don't you all  
go flock somewhere else?!  
  
He turns sharply and opens the door, entering the building.  
He let's the door SLAM behind him.  
  
INT. WOODSBORO UNIVERSITY - MAIN HALL  
  
Blaine leans against the doors and runs a hand over his face.  
  
BLAINE'S POV  
  
as his hand passes his eyes he finds himself face to face  
with his assistant.  
  
He jumps out of his skin.  
  
BLAINE  
Ahhh!  
  
NORMAL POV  
  
ASSISTANT  
I'm sorry Professor Parker.  
  
BLAINE  
It's alright Susan. What is it?  
  
ASSISTANT (SUSAN)  
Dean Williams wants to see you  
right away. He says it's urgent.  
  
BLAINE  
Just what I needed. A flock of  
crows and now the mother hen.  
  
INT. DEAN'S OFFICE  
  
Dean Williams, 60, graying hair, and a stature of  
sophisticated power, and the air of the "I'm your boss, you  
do what I say" is staring out his window at the parking lot.  
  
OVER HIS SHOULDER  
  
we can see the parking lot filled with newsvans.  
  
The door opens.  
  
SECRETARY  
Professor Parker is here.  
  
DEAN WILLIAMS  
Good. Let him in.  
  
Blaine walks in.  
  
The Dean turns from the window and sits in a large leather  
chair behind his large darkly stained wooden desk.  
  
He motions for Blaine to sit.  
  
DEAN WILLIAMS  
Sit.  
  
Blaine sits in the one-size-does-not-fit-all chairs on the  
other side of the desk.  
  
BLAINE  
What did I do?  
  
DEAN WILLIAMS  
Blunt, and to the point. I like  
that in a professor. Blaine, let me  
start out by saying I respect you  
and what you do. If it wasn't for  
you and your status our little  
college wouldn't be a university.  
Your students have nothing but the  
highest regards for you, regardless  
of your celebrity status. But as  
much as I would like to say the  
teacher comes before my school, I  
cannot. Blaine, I cannot and will  
not have my campus turned into a  
circus, and I just can't run the  
risk of you being attacked again.  
So I've come up with a solution.  
  
BLAINE  
(surprised)  
You're letting me go? If that's the  
case then I'll... I'll...  
(beat)  
I don't know.  
  
DEAN WILLIAMS  
No, no. I'm not releasing you. I  
simply want you to take yoru  
vacation early. You've been working  
far too hard and not spending  
enough time with Sydney. I know you  
want to be able to comfortably  
support her, but you have more than  
enough income to do that. So go  
away for a while. Have the wedding  
somewhere else besides Woodsboro. A  
little rest and relaxation will do  
you both a world of good.  
  
Blaine relaxes.  
  
BLAINE  
Syd has been saying I don't spend  
enough time where her...  
  
DEAN WILLIAMS  
And with the current situation in  
Woodsboro, with the murders and  
all...  
  
BLAINE  
I know Sydney will be happy to hear  
it. Thank you.  
  
DEAN WILLIAMS  
My pleasure.  
  
Blaine sticks his hand out and they shake hands.  
  
Blaine stands, with the chair still stuck around his waist.  
  
He grins sheepishly and pulls the chair off, setting it in  
the same position it was before he sat down.  
  
He leaves, shutting the door behind him.  
  
When he's gone, Dean Williams shakes his head.  
  
DEAN WILLIAMS  
He's a weird, weird man.  
  
INT. SYDNEY AND BLAINE'S HOUSE - LIVING ROOM  
  
Sydney is still staring at the newspaper.  
  
The silence is broken by a knock on the door.  
  
Sydney gets up to answer.  
  
INT. FOYER - DOOR  
  
The door opens.  
  
DEBRA YOUNG stands on the porch.  
  
PULL BACK TO  
  
INT. FOYER  
  
Sydney is leaning against the open door.  
  
DEBRA  
I heard about it.  
  
Debra walks in and Sydney shuts the dor.  
  
She wraps her arms around herself and starts to cry.  
  
Debra hugs her.  
  
SYDNEY  
This should be the happiest time of  
my life, but some nutcase has to  
kill two of my friends and fuck it  
up. WHY?! Why does some nutcase  
always have to fuck things up?!  
  
DEBRA  
(comforting)  
I know Syd.  
  
She looks around and finally discovers what's missing.  
  
DEBRA  
Where's Blaine?  
  
Sydney breaks their embrace.  
  
SYDNEY  
He's at the university.  
  
DEBRA  
Again? Why doesn't he take a  
sabbatical?  
  
SYDNEY  
He can't until the wedding. That's  
the agreement he made with the Dean.  
  
There's an uncomfortable silence.  
  
Finally Debra breaks it.  
  
DEBRA  
They shouldn't call him the Stab  
killer.  
  
SYDNEY  
What?  
  
DEBRA  
The killer. They shouldn't call him  
the Stab killer. He doesn't stab  
his victims. So far he's set one on  
fire and bashed the other's head in  
with a crowbar.  
  
SYDNEY  
(angry)  
Those "victims" have names you know!  
They were my friends!  
  
DEBRA  
Sorry Syd... I was just trying to  
make a joke.  
  
SYDNEY  
Well it was a dumb one. He does try  
to stab his victims. He tried to  
stab Blaine twice.  
  
The phone RINGS.  
  
Sydney and Debra move out of the foyer and into  
  
INT. LIVING ROOM  
  
Debra picks up the phone.  
  
MAN (PHONE)  
Hello Debra.  
  
Debra gasps.  
  
MAN  
Two down. I hope Sydney's rethinking  
vowing till death do us part.  
  
Debra hangs up quickly. She looks scared.  
  
SYDNEY  
It was him again, wasn't it?  
  
The door opens.  
  
Sydney and Debra turn, frightened.  
  
DEWEY (O.C.)  
Hey Syd, ya decent?  
  
SYDNEY  
In the living room.  
  
The door CLOSES and Gale and Dewey walk down the step into  
the living room.  
  
DEWEY  
Well we've been over both crime  
scenes with a fine toothed comb and  
there's no evidence to even let us  
begin to come up with an accusation.  
I could point a finger at you  
(points at Debra)  
and say you did it. And for all we  
know, you did.  
  
DEBRA  
But I didn't.  
  
DEWEY  
Exactly. Either the killer is very  
lucky or very careful...  
  
SYDNEY  
(interrupts)  
Or a very diehard fan of Stab.  
  
GALE  
Where's Blaine?  
  
SYDNEY  
Still at the university. That's  
where he always is.  
  
DEWEY  
Really? We drove by there on the  
way here and his car wasn't there...  
  
The door opens again.  
  
Everyone turns toward the sound.  
  
Blaine walks down the step whistling, his sports coat over  
his arm.  
  
BLAINE  
(somewhat surprised)  
Oh, hello.  
  
GALE  
Blaine, why weren't you at the  
university?  
  
BLAINE  
Dean gave me time off. I was at the  
travel agent. We all need to get  
away from these murders and from  
Woodsboro, so we're moving the  
wedding to our honeymoon spot int  
he Bahamas, and everyone in this  
room, along with Debra's boyfriend  
Mark, and of course Syd's father,  
are going.  
  
Sydney hugs him.  
  
SYDNEY  
I like the sound of that.  
  
GALE  
When do we leave?  
  
BLAINE  
The end of the week. So get your  
passports in order and declare all  
fruit.  
  
SYDNEY  
I'll go tell dad tonight.  
  
BLAINE  
Good. Oh, and I hope you all don't  
have any plans. I made reservations  
for us to all go out and celebrate.  
It's amazing all you can do on a  
cell phone.  
  
CUT TO:  
  
INT. NEIL PRESCOTT'S HOUSE - KITCHEN  
  
Sydney and Neil are sitting at the kitchen table.  
  
SYDNEY  
Blaine's moving the wedding to a  
resort the Bahamas.  
  
NEIL  
I'm worried about you. I don't  
trust Blaine now, especially with  
the way he leaves you at home by  
yourself with that killer on the  
loose while he goes that university  
job of his.  
  
SYDNEY  
You never did like Blaine just  
because I'm twenty six and he's  
thirty three.  
  
NEIL  
I don't want you to go.  
  
SYDNEY  
I want to go. Hell, I have have to  
go! It's my wedding for Christ's  
sake! And I want you to be there.  
Who else can give me away? I need  
you there.  
  
NEIL  
I'll go, but I won't hang around  
Blaine.  
  
SYDNEY  
You don't have to.  
  
She stands and hugs him 


	3. Scream 4 part 3

SYDNEY  
Besides, most of our time will be  
spent in our room.  
  
NEIL  
Please don't give me those images.  
  
CUT TO:  
  
INT. RESTURANT - PARTY ROOM - NIGHT  
  
Blaine, Sydney, Debra, her boyfriend Mark seen earlier, Gale  
and Dewey sit around a circular table in an enclosed room  
overlooking Woodsboro.  
  
They're all dressed in their finest.  
  
Blaine taps his spoon against his champagne glass to get  
attention and stnads, holding his glass in his good hand.  
  
BLAINE  
I'd like to propose a toast. To  
love, happiness, and a peaceful,  
murder free wedding.  
  
Sydney holds Blaine's other hand. He looks down at her and  
smiles.  
  
They toast.  
  
INT. DEAN'S OFFICE - NIGHT  
  
The Dean is sitting at his desk, filling out some papers.  
The only light is the desk lamp.  
  
He finishes with one and moves to another.  
  
His door opens.  
  
He looks up.  
  
SECRETARY  
I'm going home for the night.  
  
DEAN WILLIAMS  
Okay. Good night Mary.  
  
SECRETARY (MARY)  
Good night Dean Williams.  
  
She closes the door and the Dean returns to his work.  
  
Outside in the hallway, there is a CRASHING SOUND and Mary  
SCREAMS.  
  
Dean Williams looks up, startled.  
  
DEAN WILLIAMS  
Mary?  
  
No answer.  
  
He gets up and walks to the door.  
  
DEAN WILLIAMS  
Mary? Are you okay?  
  
He opens the door to find nothing but a DARK HALLWAY.  
  
He steps out of his office.  
  
INT. HALLWAY  
  
He steps into the darkened hallway, bashing his leg into the  
secretary's desk.  
  
DEAN WILLIAMS  
Ow! Shit! Where's the light switch?  
  
He grops around in the dark, tripping over a trash can.  
  
He finally finds the switch.  
  
He flips it.  
  
NOTHING.  
  
DEAN WILLIAMS  
Oh for the love of... where's the  
flashlight?  
  
He stumbles over to the secretary's desk and opens a drawer.  
  
He pulls out a flashlight and turns it on.  
  
He points it down the hallway to find  
  
THE GLASS DOOR TO AN OFFICE SMASHED OPENED.  
  
DEAN WILLIAMS  
Hello?  
  
He walks down the hallway toward the door.  
  
He shines the light inside.  
  
DEAN WILLIAMS  
Jesus, Mary, and Joseph!  
  
DEAN WILLIAM'S POV  
  
Mary is against the wall, hanging a few inches above the  
floor, a SHARD OF GLASS in her throat.  
  
NORMAL POV  
  
The Dean backpedals away from the door, leaning against the  
wall. He's breathing heavily.  
  
A RUSTLING SOUND, like a cloak makes him turn.  
  
A shadow moves at the end of the hallway.  
  
The Dean shines his light, but finds nothing but a wall.  
  
DEAN WILLIAMS  
If this is some frat house pratical  
joke it's gone way too far! If I  
catch you I'm expelling all of you  
and having you all arrested!  
  
MAN (O.C.)  
This is a fun game Dean. You should  
try it.  
  
Dean Williams looks around.  
  
DEAN WILLIAMS  
Where are you?!  
(a sound, he points  
the light)  
Who are you?! Show yourself!  
  
MAN  
It's a fun game Dean. The rules are  
simple. I win, you DIE!  
  
The Ghostface suddenly appears in the beam of light. He's  
holding a knife.  
  
The Dean looks at the knife and turns, hauling ass back  
toward his office.  
  
The killer gives chase.  
  
INT. DEAN'S OFFICE  
  
The Dean rushes into his office, slamming the door shut and  
locking it.  
  
He pushes the chairs up against it to barricade himself in.  
  
DEAN WILLIAMS  
(shouting)  
I'm calling the police!  
  
He picks up the phone, but the line is DEAD.  
  
He frantically pushes the phone cradle.  
  
NOTHING.  
  
The killer begins ramming the door.  
  
The Dean grabs his briefcase and pulls out his cell phone.  
  
DEAN WILLIAMS  
I'm calling the police!  
  
He dials.  
  
The killer continues to ram the door.  
  
EMERGENCY OPERATOR (PHONE)  
9-1-1 emergency. What's the  
situation?  
  
DEAN WILLIAMS  
This is Dean Williams at Woodsboro  
University. Someone is trying to  
kill me!  
  
The ramming suddenly stops.  
  
The Dean lets out a small sigh.  
  
DEAN WILLIAMS  
Never mind. He seems to have...  
  
A GUNSHOT  
  
is fired at the lock.  
  
ANOTHER! and ANOTHER!  
  
The killer shoves the door in. He's holding a gun.  
  
The Dean drops the phone and grabs a plaque off the wall.  
  
He charges the killer who ducks and punches the Dean in the  
gut.  
  
A knife slides out from the Ghostface's sleeve.  
  
EMERGENCY OPERATOR (PHONE)  
Hello? Are you still there?  
  
The Ghostface stabs Dean Williams in the stomach.  
  
The Dean's eyes go wide.  
  
The killer grabs the Dean by the back of his collar and belt  
and rushes for the window.  
  
He THROWS THE DEAN THROUGH THE GLASS!  
  
EXT. WOODSBORO UNIVERSITY - GROUND POV  
  
ANGLE UPWARD  
  
as Dean Williams plummets to the concrete, screaming.  
  
Before he hits we  
  
SMASH CUT TO:  
  
EXT. SKY - AIRPLANE  
  
A jet speeds across the sky.  
  
EXT. AIRPORT RUNWAY - DAY  
  
The plane touches down.  
  
INT. AIRPORT  
  
The group emerges from the terminal.  
  
They're all dressed in shorts and t-shirts.  
  
BLAINE  
Let's find our stuff. Our ride is  
waiting outside.  
  
EXT. AIRPORT  
  
The group emerges, dragging their bags with them.  
  
Parked next to the curb is a limo, the driver is holding a  
card that says Parker.  
  
DEBRA  
A limo?! Cool!  
  
BLAINE  
Only the best for my future family.  
  
Blaine goes up to the driver.  
  
BLAINE  
I'm Blaine Parker.  
  
DEBRA  
Very good sir.  
  
He opens the door and the group piles in.  
  
The driver proceeds to load their luggage in the trunk.  
  
INT. LIMO  
  
Huge. Two couch like seats, and a wet bar, and a TV. A phone  
is on the wet bar.  
  
Dewey opens the mini-fridge in the bar and digs through the  
drinks.  
  
DEWEY  
Man, they got everything!  
  
Mark peers over Dewey's shoulder into the fridge.  
  
MARK  
Hey Dewey, toss me a Bud!  
  
Dewey grabs two Budweiser longnecks. He toses one to mark.  
  
DEWEY  
Anyone else?  
  
BLAINE  
It's free, so drink up.  
  
NEIL  
Sure.  
  
DEBRA  
Gimme one too.  
  
Blaine grabs a bottle of water. He offers one to Sydney who  
takes it.  
  
She leans close to his ear.  
  
SYDNEY  
(whisper)  
I have to tell you something  
important when we're alone.  
  
BLAINE  
(whisper)  
Okay.  
  
He steals a quick kiss.  
  
GALE  
Hey, I found the radio.  
  
She turns it on.  
  
ROCK MUSIC fills the back of the limo.  
  
EXT. ARIAL VIEW OF THE LIMO/STREET - MOVING  
  
The limo speeds on as the rock music continues.  
  
INT. HOTEL LOBBY  
  
The lobby is HUGE!  
  
The group walks in, carrying their bags.  
  
They begin to load them on a cart.  
  
MARK  
Holy shit, this place is HUGE!  
  
Blaine walks over to the front desk.  
  
BLAINE  
I'm Blaine Parker, I made the  
reservations earlier this week.  
  
CLERK  
Oh yes. We need to see a form of  
identification.  
  
Blaine shows him his driver's license.  
  
CLERK  
Okay. The Parker party. Four  
ajoining rooms, one being the  
honeymoon suite.  
  
BLAINE  
You got it.  
  
The clerk holds up two sets of keys. One is of four key  
cards, the other are eight sets of keys.  
  
CLERK  
(indicating)  
One set for the rooms, the other  
set for the rental cars.  
  
Blaine takes the keys.  
  
BLAINE  
Thank you.  
  
CLERK  
Enjoy your stay.  
  
BLAINE  
We will.  
  
He moves back to the group as a BELLHOP finishes loading  
their bags on the cart.  
  
BLAINE  
All set.  
  
INT. HOTEL HALLWAY  
  
The elevator DINGS and the doors open.  
  
The bellhop pushes the cart out of the elevator, and the  
group follows into the hallway.  
  
The bellhop stops in the middle of the hallway, in front of  
the biggest set of double doors.  
  
BLAINE  
Thank you.  
  
He tips the bellhop.  
  
The bellhop returns to the elevator.  
  
DEWEY  
Come on man, I wanna see our room!  
  
BLAINE  
Okay, okay! Gale, Dewey, you have  
the room over there.  
  
He indicates the room and gives them their key card and two  
sets for the rental car.  
  
Dewey takes the key card and slides it in the lock and opens  
the door.  
  
We don't see inside as Dewey grabs their bags and bounds  
inside.  
  
DEWEY  
Sweet!  
  
Gale picks up the two small bags Dewey left and shrugs at  
the others.  
  
GALE  
He's always like that.  
  
She enters and the door closes.  
  
Blaine gives Mark and Debra the key to their room and to  
their rental car.  
  
Mark opens the door.  
  
MARK/DEBRA  
Holy shit!  
  
They take their bags into the room and close the door behind  
them.  
  
BLAINE  
Neil, here's your keys: one to the  
room, one to your rental. I got you  
the best room in the place, next to  
the honeymoon suite.  
  
Neil takes the keys.  
  
NEIL  
Thank you.  
  
He goes into his room with his bags and shuts the door.  
  
Blaine and Sydney stand alone in the hallway.  
  
BLAINE  
He never liked me.  
  
SYDNEY  
I know.  
  
BLAINE  
Ready to see our room?  
  
SYDNEY  
Oh hell yeah.  
  
Blaine slips the key into the lock and pushes the door open.  
  
BLAINE  
Ladies first.  
  
Sydney walks in.  
  
Blaine picks up the bags and follows after her.  
  
He shuts the door.  
  
INT. HONEYMOON SUITE - LIVING ROOM - CONTINUOUS  
  
Very plush. Think big enough for three full sized suites and  
conference room. A hallway leads out of the living room area  
toward a bedroom.  
  
SYDNEY  
Wow!  
  
She walks over to the couch and lays down, staring at the  
ceiling.  
  
SYDNEY  
This is... wow!  
  
Blaine grins.  
  
BLAINE  
Sounds like the first time we made  
love.  
  
Sydney laughs.  
  
Blaine walks out onto the balcony.  
  
Sydney sits up and watches him lean against the rail.  
  
SYDNEY  
Blaine?  
  
She stands and walks out onto the balcony.  
  
EXT. BALCONY - DUSK - CONTINUOUS  
  
The balcony overlooks the ocean, which is sparkling a  
beautiful red and orange by the setting sun.  
  
Sydney puts her arm around him.  
  
He looks at her.  
  
BLAINE  
You see that rock over there?  
  
He indicates a rocky outcropping leading into the sea. The  
waves crash against the side but come anywhere near the top.  
  
BLAINE  
That's where we're going to get  
married.  
  
SYDNEY  
It's beautiful.  
  
Blaine turns to her and takes her hands.  
  
BLAINE  
What is it you wanted to tell me?  
  
SYDNEY  
(hesitantly)  
I'm pregnant.  
  
BLAINE  
You sure?  
  
SYDNEY  
I had all the early tests done. The  
doctor said it's a sure thing.  
  
BLAINE  
That would pretty much explain your  
refusal to drink champange at the  
resturant and in the lim  
(beat, realizing)  
That's great!  
  
SYDNEY  
(surprised)  
But I thought...  
  
BLAINE  
Forget what I thought. This is  
perfect!  
  
Sydney smiles.  
  
SYDNEY  
I don't know when to tell Dad. If I  
do it now he'd probably freak out...  
or worse.  
  
BLAINE  
After the wedding. He can't do  
anything then.  
  
Blaine walks back in the room.  
  
Sydney watches him.  
  
THROUGH THE DOOR  
  
we see him go to the mini refridgerator next to the door.  
  
He opens it and returns with two bottles of water.  
  
BLAINE  
Since it's not heathly for the  
mother or baby, you can't exactly  
drink anything with alcohol or  
caffeine.  
  
Sydney accepts the water.  
  
SYDNEY  
Very considerate.  
  
BLAINE  
You learn a lot from watching the  
Miracle of Life. Lord help me if I  
ever have to watch it again.  
(raises his bottle)  
A toast, to us, and the beginning  
of our new family.  
  
They drink.  
  
Sydney yawns.  
  
SYDNEY  
I'm tired. That jetlag is really  
getting to me.  
  
BLAINE  
You go on to bed. I'll be right here.  
  
CUT TO:  
  
INT. A DIFFERENT HOTEL ROOM  
  
A MAID is straightening up a bed in this smaller, generic  
hotel room with just two beds in front of a dresser and a TV.  
  
The door is closed.  
  
She tucks a sheet around a corner on the bed.  
  
The door opens.  
  
The maid turns around quickly but doesn't see anything but  
the closed door.  
  
The maid shrugs.  
  
MAID  
I guess it was nothing.  
  
She picks up a rag and grabs her cleaning supplies and goes  
to the door.  
  
The bathroom door closes.  
  
MAID  
Who's there?  
  
The maid slowly moves toward the door.  
  
She slowly reaches for the knob...  
  
She opens the door...  
  
NOTHING  
  
but a dark bathroom.  
  
She flips on the light switch.  
  
Still nothing.  
  
INT. BATHROOM - CONTINUOUS  
  
The maid peers into the bathroom, looking side to side.  
  
Empty.  
  
INT. A DIFFERENT HOTEL ROOM - CONTINUOUS  
  
She shuts off the lights and is about to shut the door when...  
  
THE GHOSTFACE LEAPS OUT FROM BEHIND THE DRAWN SHOWER CURTAIN!  
  
He grabs the maid and drags her into the bathroom.  
  
The maid SCREAMS.  
  
INT. BATHROOM - CONTINUOUS  
  
Ghostface kicks up the toliet lids and shoves her face into  
the toliet bowl.  
  
INT. TOLIET BOWL - CONTINUOUS  
  
The maid's face plunges into the cold toliet water.  
  
A small object hits the water next to her head.  
  
INT. BATHROOM - CONTINUOUS  
  
She thrashes.  
  
Her screams are mixed with gurgles.  
  
She finally stops moving.  
  
She's DEAD.  
  
Ghostface stands.  
  
There's a POUNDING on the door.  
  
INT. HOTEL HALLWAY  
  
Another maid is pounding on the door.  
  
MAID #2  
Edith?! Edith, are you okay?!  
  
A manager arrives.  
  
MANAGER  
What's going on here? I got reports  
of screaming.  
  
MAID #2  
I don't know sir. Edith was  
screaming, but I can't get into the  
room since she had the keys!  
  
The manager pulls out his master key and unlocks the door.  
  
They enter.  
  
INT. A DIFFERENT HOTEL ROOM - CONTINUOUS  
  
Ghostface is gone when the manager and maid rush into the  
room.  
  
The manager finds Edith face down in the toliet.  
  
MANAGER (O.C.)  
Oh my God!  
  
INT. BATHROOM - CONTINUOUS  
  
The manager kneels down next to the body.  
  
He checks for a pulse.  
  
The other maid appears in the doorway.  
  
MAID #2  
Is she...?  
  
MANAGER  
Call the police.  
  
INT. HONEYMOON SUITE - LIVING ROOM  
  
Blaine is asleep on the couch when there's a KNOCK on the  
door.  
  
He sits up and wipes the sleep from his eyes.  
  
Another KNOCK.  
  
BLAINE  
I'm comin', I'm comin'.  
  
He gets off the couch and walks to the door.  
  
He opens it to reveal THREE POLICE OFFICERS.  
  
BLAINE  
Can I help you?  
  
POLICE OFFICER #1  
Mr. Parker, can you identify this  
ring?  
  
The officer holds up a ring.  
  
Blaine looks at it closely and then at his hand.  
  
BLAINE  
Goddamn. How in the hell did that  
fall off?  
(to officers)  
That's ring it mine, officers.  
  
POLICE OFFICER #1  
Blaine Parker you are under arrest  
for the murder of Edith Abram.  
  
The officer removes the handcuffs from his belt.  
  
BLAINE  
What?!  
  
Sydney emerges from the bedroom hallway. She yawns.  
  
SYDNEY  
Blaine?  
(notices the officers)  
What's going on here?  
  
BLAINE  
I'm being arrested.  
  
SYDNEY  
What for?  
  
BLAINE  
I don't know. They say I killed  
someone.  
  
The officers escort Blaine into the hallway.  
  
Sydney follows.  
  
INT. HOTEL HALLWAY  
  
Gale and Dewey emerge from their room  
  
Dewey is wearing an undershirt, his underwear, and a pair of  
socks.  
  
DEWEY  
What's goin' on?  
  
He's ignored.  
  
He steps in front of the officers.  
  
DEWEY  
What's the charge?  
  
POLICE OFFICER #2  
Who are you?  
  
Dewey reaches for his wallet but realizes he doesn't have  
any pants on.  
  
He looks back at his room and Gale throws his pants at him.  
  
He pulls his wallet out and flashes his sherrif's badge.  
  
DEWEY  
Dewey Riley. Woodsboro Police.  
  
POLICE OFFICER #1  
Murder.  
  
More people emrge from their rooms, including Mark, Debra,  
and Neil.  
  
POLICE OFFICER #1  
Why don't we continue this at the  
station?  
  
DEWEY  
Good idea.  
  
GALE  
I'll explain it to everyone else.  
  
Dewey quickly pulls his pants on and takes his shirt from  
Gale.  
  
Dewey, Sydney, the three officers and Blaine walk down the  
hall to the elevator.  
  
INT. POLICE STATION - INTERROGATION ROOM  
  
Blaine is sitting in the only chair in this barren gray room  
facing a square table. His left wrist is handcuffed to the  
left arm.  
  
Dewey and Sydney are sitting on stools.  
  
The three cops are standing.  
  
POLICE OFFICER #1  
We found this ring floating in the  
toliet where the victim's body was  
found.  
  
DEWEY  
Are you saying she died because the  
killer drownedher in a toliet?  
  
POLICE OFFICER #3  
Not the prettiest way to die. It's  
the weirdest one I've seen yet.  
  
DEWEY  
How do you know the ring is his?  
  
POLICE OFFICER #1  
Mr. Parker postively identified it  
as his own. We suspected it was him  
due to the inscription on the ring.  
  
SYDNEY  
I love you forever, only love was a  
heart, you was spelt "u" and  
forever was "4-ever."  
(off their looks)  
I gave him the ring.  
  
POLICE OFFICER #2  
Mr. Parker, where were you around  
7:43 this evening?  
  
BLAINE  
Sydney was asleep so I got up to  
watch some TV. I fell asleep. I  
didn't get to sleep until late last  
night.  
  
POLICE OFFICER #1  
Why?  
  
BLAINE  
I was plotting the death of the  
maid. Kidding, kidding. I was  
trying to figure out a way to tell  
her  
(indicates Sydney)  
father about her baby without him  
going for my throat.  
  
The officers raise their eyebrows.  
  
BLAINE  
Don't ask.  
  
POLICE OFFICER #2  
Can anyone substanciate your claim?  
  
BLAINE  
I don't know. Maybe, but I doubt it.  
Besides, how am I supposed to know  
when I'm out cold on the couch?  
Anyone could've taken that ring at  
any time. I'm a very heavy sleeper.  
Someone could have walked into our  
room, taken the ring, and left, and  
I would never have known about it.  
  
Another officer knocks on the door.  
  
Everyone looks up as the door opens.  
  
POLICE OFFICER #4  
Phone call for Sydney Prescott?  
  
SYDNEY  
(standing)  
That's probably Gale.  
  
She walks out the door, held open by Police Officer #4  
  
He shuts the door when she's out.  
  
INT. POLICE STATION HALLWAY - PHONES - CONTINUOUS  
  
The officer leads her to a bank of pay phones on the wall of  
the station.  
  
He stays a respectable distance back as she picks up the  
phone.  
  
SYDNEY  
Hello?  
  
MAN (PHONE)  
Did you like the nice wedding  
present I gave you and Blaine?  
  
Sydney turns, wide eyed.  
  
The officer looks at her, puzzled, but does nothing.  
  
MAN  
I'm going to go after Blaine again,  
Sydney. And then it'll be your turn.  
  
She slams the phone down and storms back to the interrogation  
room.  
  
The officer tries to get some info.  
  
POLICE OFFICER #4  
Miss? Miss, what's wrong?  
  
INT. INTERROGATION ROOM - CONTINUOUS  
  
Sydney throws the door open. It crashes against the wall.  
  
Everyone inside looks up at her.  
  
She's terrified.  
  
SYDNEY  
I just got a call from the guy who  
killed the maid... and Karen and  
Carol...  
  
BLAINE  
Ghostface...  
  
Sydney notds.  
  
DEWEY  
Shit.  
  
BLAINE  
Goddamn.  
  
POLICE OFFICER #1  
How do we know he called?  
  
Sydney gives him a glare that could kill.  
  
SYDNEY  
I don't lie about these things.  
  
POLICE OFFICER #2  
You're Sydney Prescott aren't you?  
  
Sydney nods.  
  
POLICE OFFICER #2  
(to Blaine)  
I'm sorry Mr. Parker. We'll take  
you back to your hotel.  
  
CUT TO:  
  
INT. HOTEL BAR  
  
A sports bar type bar. TVs show various sports and shows.  
  
Sydney, Blaine, Debra, Mark, Gale, Dewey, and Neil all sit  
around a table as Blaine explains his story.  
  
BLAINE  
...they found my ring in the  
toliet, and since I identified it,  
they thought it was me who did it.  
The killer called up the station to  
brag to Sydney, and that's how I  
got out.  
  
MARK  
So that Stab lunatic followed us  
here?  
  
NEIL  
(to Sydney)  
I told you I didn't want you to come.  
  
BLAINE  
This is really the wrong time to  
bring up that little grudge you  
have against me, Neil.  
  
NEIL  
You're going to get my daughter  
killed.  
  
BLAINE  
No, I'm not. You have to learn to  
trust me.  
  
NEIL  
(standing)  
No. I never have and never will.  
  
He starts to walk out.  
  
SYDNEY  
Dad, where are you going?  
  
NEIL  
Driving.  
  
CUT TO:  
  
EXT. MOUNTAIN ROAD - MOVING - ARIAL VIEW - NIGHT  
  
Neil's car speeds along a winding, deserted mountain road.  
  
He's the only car on the road.  
  
INT. NEIL'S CAR  
  
He looks deep in thought.  
  
BEHIND HIM  
  
we can see CAR HEADLIGHTS appear sand GROW brighter...  
  
And Brighter...  
  
AND BRIGHTER...  
  
Until...  
  
WHAM!  
  
The car is hit from behind.  
  
NEIL  
What the hell?!  
  
EXT. MOUNTAIN ROAD - MOVING - CONTINUOUS  
  
He nearly loses control.  
  
His car skids and spins, but straightens out.  
  
INT. NEIL'S CAR  
  
Neil looks back over his shoulder.  
  
The car is still there.  
  
NEIL  
Stupid bastard.  
  
THROUGH THE DRIVER'S SIDE WINDOW  
  
the cars pulls up alongside him.  
  
EXT. MOUNTAIN ROAD - MOVING - CONTINUOUS  
  
The other car turns sharply and slams into Neil's car.  
  
The car slides sharply off the road and slams sideways into  
a tree.  
  
The car turns sharply again.  
  
INT. NEIL'S CAR - CONTINUOUS  
  
The door is dented in.  
  
Neil tries to speed up, but the other car does too.  
  
EXT. MOUNTAIN ROAD - MOVING - CONTINUOUS  
  
The other car continues to smash into Neil's rental car.  
  
INT. NEIL'S CAR - CONTINUOUS  
  
NEIL  
You pyscho!  
  
THROUGH HIS WINDSHIELD  
  
we see the car pull ahead of him and suddenly STOP DEAD!  
  
NEIL  
Shit!  
  
He hits the brakes, the car skids, but doesn't stop.  
  
EXT. MOUNTAIN ROAD - MOVING - CONTINUOUS  
  
The rental PLOWS into the other car, both cars spinning out  
of control.  
  
INT. NEIL'S CAR - CONTINUOUS  
  
The car spins around and around.  
  
EXT. MOUNTAIN ROAD - MOVING - CONTINUOUS  
  
The car spins toward the edge of the cliff.  
  
INT. NEIL'S CAR - CONTINUOUS  
  
Neil undoes his seatbelt and reaches for the door handle. He  
pulls.  
  
JAMMED.  
  
NEIL  
Fuck!  
  
EXT. MOUNTAIN ROAD - MOVING - CONTINUOUS  
  
The cars collide with the railing and go through it, and  
over the cliff.  
  
INT. NEIL'S CAR - CONTINUOUS  
  
Neil dives for the passenger door. He tries the handle.  
  
JAMMED TOO!  
  
He looks out the windshield at a large rock rushing to meet  
the cars.  
  
EXT. CLIFF - CONTINUOUS  
  
The cars SMASH into a huge rock and explode into flames.  
  
EXT. CLIFF TOP/MOUNTAIN SIDE - CONTINUOUS  
  
A pair of black shoes and the bottom of a black cloak appear  
in frame.  
  
PAN UP  
  
to reveal the GHOSTFACE staring down at the flamming wreckage.  
  
CLOSE ON  
  
the flaming wreckage as we  
  
FADE TO:  
  
INT. HOTEL BAR  
  
Late night at the bar. Blaine, Dewey, and Mark are still  
sitting at the table, but Sydney, Gale, and Debra are gone.  
  
They each have a tall glass of beer.  
  
DEWEY  
So, Professor, you enjoying your  
bachelor party?  
  
BLAINE  
We got da beer, but where's da  
stripper?  
  
MARK  
I'll go get Debra.  
  
BLAINE/DEWEY  
Oooh!  
  
They laugh.  
  
It's obvious they're drunk, or at least acting like it.  
  
A police officer approaches.  
  
Dewey spots him first.  
  
DEWEY  
Hey Officer Mitchell! I thought you  
said you didn't want to come out  
here anymore tonight.  
  
MARK  
Don't shoot! Don't shoot!  
(to Blaine and Dewey)  
I told him don't shoot.  
  
BLAINE  
I have a permit for this stuff. I  
swear. Just let me go home and get  
it.  
  
OFFICER  
(laughs)  
Good one. You Blaine Parker?  
  
BLAINE  
Who'd I kill now? The bellhop?  
  
OFFICER  
Let's hope not. I wanted to know  
where Sydney Prescott is.  
  
BLAINE  
Sydney? Who'd she kill?  
  
OFFICER  
(losing patients)  
We found Neil Prescott. He's dead.  
  
The mood immedietly sobers up.  
  
BLAINE  
I'll take you to her.  
  
INT. HONEYMOON SUITE - LIVING ROOM  
  
Gale is sitting the couch next to Sydney, drinking a beer.  
Sydney has a bottle of water. Debra is in the kitchenette,  
raiding the refridgerator.  
  
GALE  
I'm proud of you Sydney. You were  
able to latch onto a very handsome  
man, who has a helluva lot of money.  
  
Sydney grins.  
  
SYDNEY  
Yeah, I did, didn't I?  
  
Debra emerges from the kitchenette with a pile of junk food  
and snack crackers.  
  
DEBRA  
(grinning)  
Who's hungry?  
  
There's a KNOCK on the door.  
  
Debra sets the food down on the coffee table and opens the  
door.  
  
It reveals a very solemn looking Dewey, Mark, and Blaine.  
  
DEBRA  
What is it?  
  
Sydney sees Blaine and walks to the door.  
  
BLAINE  
Neil's dead...  
  
The party atmosphere, like Neil Prescott, is dead at this  
point.  
  
Sydney's eyes begin to well up with tears.  
  
Blaine hugs her and holds her as she begins to cry.  
  
SYDNEY  
Not Dad. Not now... he'll never get  
to see me married now...  
  
BLAINE  
I know baby. I know.  
  
SYDNEY  
(through tears)  
How?  
  
A police officer steps through the crowded doorway. From  
this point on he will be known as Detective Philip Daniels. 


	4. Scream 4 part 4

DANIELS  
I'm Detective Philip Daniels, and  
please have a seat. I only want to  
explain this once.  
  
The entire group moves into the living room area and Daniels  
shuts the door.  
  
They each find seats.  
  
DANIELS  
Neil was murdered and we're assuming  
by the same man who murdered Karen  
Carter, Carol Babbett, Dean Harold  
Williams, and Edith Abram.  
  
BLAINE  
Dean Williams is dead?  
  
Daniels nods and continues.  
  
DANIELS  
When we found Mr. Prescott, he was  
in the burnt shell of his car,  
which was also found to be badly  
fire damaged. At first we thought  
it was an accident, but after we  
got the car back up onto the road  
we discovered a badly damaged  
bumper, trunk, and a jammed  
passenger and driver's side door.  
It was so badly damaged that the  
doors were jammed. There was no  
body in the second vehicle.  
  
SYDNEY  
Was it painful?  
  
DANIELS  
From what I saw and have been told,  
I can make a guess at no. His  
seatbelt wasn't on and at the angle  
he was leaning, he knocked himself  
out on the dashboard.  
  
SYDNEY  
At least it wasn't painful.  
  
GALE  
The last three times the killer  
followed a set pattern, like a  
movie trilogy. If only Randy were  
still alive. He could tell us about  
the forth movie of a series.  
  
DANIELS  
Does anyone else you know have that  
kind of knowledge?  
  
Everyone immedietly looks at Blaine.  
  
BLAINE  
The first movie sets the tone,  
introduces the characters, five of  
which usually survive to tell the  
tale. The first act. The sequel is  
always bigger and bloodier, and  
reduces the survivng characters  
down from five to maybe three, or  
from three to two or one. The  
second act. The end of the trilogy  
always reveals something shocking,  
unexpected. It can usually mean the  
end of all but one main character.  
The final act. The fourth movie is  
different. In the fourth movie,  
it's plot is usually never connected  
to the original trilogy, and any  
surviving main characters are  
usually dead by the end. That is,  
of course, unless they follow the  
rule.  
  
SYDNEY  
What rule?  
  
BLAINE  
The first movie makes the rules,  
the second movie breaks the rules,  
and the movie has two rules:  
survival and death. The fourth  
movie has but one rule:  
(dramatic pause, ECU  
of Blaine's face)  
Everybody dies.  
  
DANIELS  
Well we'll do our best to keep you  
all alive and catch this killer.  
We're going to evacuate the floor  
except for you six.  
  
INT. RANDOM ROOMS  
  
We see what he describes.  
  
DANIELS (V.O.)  
There will be a few officers in  
random rooms, which will change  
everyday.  
  
INT. HOTEL HALLWAY  
  
DANIELS (V.O.)  
And no less than three armed police  
officers in the hallway at a time.  
  
INT. HONEYMOON SUITE  
  
SYDNEY  
Somehow, I don't feel any safer.  
  
EXT. BALCONY - LATER THAT NIGHT  
  
Sydney, dressed in a silver nightgown, stands on the balcony,  
watching the surf hit the sand.  
  
Blaine comes up behind her and puts his hand around her waist.  
  
SYDNEY  
We're not getting married yet, are  
we?  
  
BLAINE  
No.  
  
She turns and looks at him.  
  
SYDNEY  
I want to go for a walk on the  
beach. We haven't done that yet.  
  
BLAINE  
Then let's go.  
  
CUT TO:  
  
EXT. BEACH - NIGHT  
  
Sydney and Blaine walk in the surf, letting the churning  
water flow around their bare ankles and feet. She's still in  
her nightgown, and he's in a pair of shorts and a T-shirt.  
  
A police officer stands on their balcony, watching and  
another is farther away on the beach. Other than that,  
they're alone.  
  
SYDNEY  
I love this.  
  
BLAINE  
I know.  
  
SYDNEY  
The night is so beautiful, and the  
surf is so warm. I wish we could  
just lay out here forever.  
  
She grins devilishly and takes off into the ocean, only a  
few steps from the beach, but deep enough so the water is up  
to her thighs, the water spraying around her as she splashes  
in.  
  
She turns and looks at Blaine.  
  
She proceeds to soak him.  
  
BLAINE  
You skank!  
  
He charges in after her.  
  
MONTAGE  
  
Blaine splashes Sydney who splashes him back.  
  
He chases her into the water, almost catching her, but she  
slips away.  
  
Sydney splashes Blaine as he tries to grab her again.  
Blinded, he falls into the water.  
  
Laughing, she ducks him again and he gets another dunking.  
  
Blaine finally manages to grab her and they splash into the  
ocean. They surface, lips locked in a deep kiss, the water  
cascading down their wet faces and hair.  
  
END MONTAGE  
  
SYDNEY  
I love you Blaine Parker.  
  
BLAINE  
I love you Sydney Prescott.  
  
EXT. BEACH - LATER  
  
Sydney and Blaine emerge from the ocean, soaking wet, but  
laughing and giggling.  
  
SYDNEY  
Now this is a honeymoon!  
  
They kiss and hold each other.  
  
Blaine pushes a wet strand of hair out of her face.  
  
They kiss again.  
  
BLAINE  
Let's get out of these wet clothes.  
  
She takes off for the hotel, Blaine after her.  
  
The sound of a CAR makes them stop and look down the beach.  
  
HEADLIGHTS appear int he darkness, heading steaight for...  
  
BLAINE  
Sydney!  
  
He shoves her out of the way, and she lands roughly on the  
sand.  
  
She looks up just in time to see a yellow jeep slam into  
Blaine, sending up in the hood. He rolls over the windshield  
and off the side.  
  
He hits the sand hard. He doesn't move. He's bleeding from  
the back of his elbows, his face is a mask of blood. His  
knuckles are scrapped, and his right leg is bent at an odd  
angle.  
  
The jeep roars off into the night.  
  
SYDNEY  
Blaine!  
  
She scrambles to his side.  
  
SYDNEY  
Blaine?  
  
The police officer on the beach runs up to them. He kneels  
next to them.  
  
POLICE OFFICER ON BEACH  
(into walkie talkie)  
I need a medical team here, pronto!  
  
HOLD ON  
  
Sydney, crying, as we  
  
CUT TO:  
  
INT. HOSPITAL ROOM - NIGHT  
  
Blaine is lying in a hospital bed, his leg in a cast, hooked  
up to all the neccessary life monitors. He has an oxygen  
tube up his nose. He's unconscious.  
  
Sydney is sitting on the bed with him.  
  
SYDNEY  
I had fun on the beach. I hate that  
is had to end this way. I feel so  
helpless, so alone.  
(tearing up)  
I lost my father, Blaine, I can't  
lose you too.  
  
A nurse walks in.  
  
NURSE  
Visiting hours are over. You should  
probably go home and get some rest.  
You've had just as a tramatic day  
as he has.  
  
SYDNEY  
I want to stay.  
  
NURSE  
Mr. Parker needs his rest, and we  
really don't need any more than  
neccessary in this room should  
something happen.  
  
SYDNEY  
How am I supposed to get back to  
the hotel?  
  
NURSE  
A Detective Philip Daniels is  
waiting outside for you.  
  
SYDNEY  
(sighs)  
Fine.  
  
INT. DANIEL'S PATROL CAR - MOVING  
  
Sydney's sitting in the passenger seat, huddled up.  
  
SYDNEY  
Your cops sure as hell fucked up  
didn't they?  
  
DANIELS  
It happened too fast. We didn't  
have time to react.  
  
SYDNEY  
So you trained professionals didn't  
think it was strange that a jeep  
suddenly appeared late at night on  
a beach?  
  
DANIELS  
I understand you're upset, and  
rightfully so, but don't blame us.  
An officer told me that the jeep  
was heading for you, not Blaine. He  
shoved you out of the way.  
  
Sydney doesn't have an answer. She just looks out the windows.  
  
INT. BLAINE'S HOSPITAL ROOM  
  
Blaine is asleep.  
  
CLOSE ON  
  
the door handle as it turns.  
  
The door opens.  
  
The Ghostface walks in and silently shuts the door.  
  
He walks up to Blaine's bed.  
  
CLOSE ON  
  
the killer's hand as he draws a gun.  
  
CLOSE ON  
  
the hammer of the gun as it's drawn back.  
  
CLICK!  
  
CLOSE ON  
  
Blaine's eyes snap open.  
  
He sits up suddenly and grabs the killer's arm.  
  
The gun goes off.  
  
CLOSE ON  
  
The only turned on overhead light as it explodes, raining  
down glass and plunging the room into darkness.  
  
INT. HOSPITAL - NURSE'S STATION  
  
A NURSE is talking to a SECURITY GUARD.  
  
SECURITY GUARD  
I hate the night shift.  
  
BLAM! CRASH!  
  
NURSE  
What the fuck was that?!  
  
SECURITY GUARD  
Come on!  
  
INT. BLAINE'S HOSPITAL ROOM  
  
Pitch black. The only light coming from the window. Both  
Blaine and the killer are in shadows.  
  
The killer shoves the bed against the window.  
  
Blaine holds on for dear life.  
  
INT. HOSPITAL CORRIDOR  
  
The nurse and security guard reach Blaine's room.  
  
The nurse tries to the door.  
  
Locked.  
  
INT. BLAINE'S HOSPITAL ROOM  
  
The killer manages to wriggle his gun and arm free of  
Blaine's grasp and fires.  
  
The bullet smashes THROUGH Blaine's skull and out the window  
behind him, completely blowing out the window.  
  
Blaine keels backward and falls out the broken window!  
  
INT. HOSPITAL CORRIDOR  
  
BLAM! CRASH!  
  
NURSE  
That was the window!  
  
SECURITY GUARD  
Stand back!  
  
He draws his gun and shoots the lock.  
  
He pushes the door open.  
  
INT. BLAINE'S HOSPITAL ROOM  
  
The room is empty.  
  
NURSE  
Where's Blaine?  
  
The security guard checks the bathroom.  
  
The nurse looks out the window.  
  
NURSE  
Oh my God!  
  
EXT. HOSPITAL COURTYARD  
  
Blaine's broken and battered body is lying on a gaming table.  
His face is mutiliated from the bullet.  
  
INT. BLAINE'S HOSPITAL ROOM  
  
The security guard and the nurse are now both looking out  
the window.  
  
SECURITY GUARD  
Shit.  
  
SHINK!  
  
A knife is thrust through his throat.  
  
CLOSE ON  
  
the security guard's eyes buldge.  
  
He gurgles and falls.  
  
The Ghostface turns toward the nurse.  
  
NURSE  
No...  
  
She turns and runs for the door.  
  
CLOSE ON  
  
the killer's hand raises the bloody knife. He throws it.  
  
CLOSE ON  
  
the nurse's fleeing back as the knife impales itself.  
  
The nurse falls.  
  
CUT TO:  
  
INT. DEBRA AND MARK'S ROOM - BATHROOM  
  
Debra is in the shower.  
  
INT. DEBRA AND MARK'S ROOM  
  
Mark is standing outside the bathroom, leaning on the  
bathroom door.  
  
MARK  
You about done yet?  
  
DEBRA (O.C.)  
Almost!  
  
Mak sigh and walks over to the bed.  
  
He throws back the covers.  
  
There's a KNOCK on the door.  
  
MARK  
Must be room service.  
  
He opens the door.  
  
THE GHOSTFACE IS STANDING IN THE DOORWAY!  
  
He stabs Mark in the gut.  
  
INT. BATHROOM  
  
Debra shuts off the water and steps out of the shower.  
  
We only SEE her bare FEET as she slips on a very sexy piece  
of lingerie.  
  
INT. DEBRA AND SCOTT'S ROOM - CONTINUOUS  
  
Debra opens the door and enters the room.  
  
She sees a lump on the bed, completely covered by the sheets  
and bedspread.  
  
She walks over to the bed.  
  
DEBRA  
You're a horny thing tonight, ain't  
ya?  
  
She throws back the covers to reveal Mark, DEAD, his throats  
and wrists slashed, the white sheets soaked in crimson blood!  
  
Debra SCREAMS.  
  
The killer steps out from behind a billowing drape that  
leads to their balcony.  
  
Debra turns and runs, but trips over an ottoman.  
  
She rolls over and look up as the killer continues to  
advance on her, holding a knife stained in blood.  
  
She kicks the ottoman at the Ghostface who trips over it.  
  
Debra stands and scrambles for the door to the room.  
  
She throws it open.  
  
INT. HOTEL HALLWAY - CONTINUOUS  
  
Debra scrambles next door to the honeymoon suite's door.  
  
She pounds on it.  
  
DEBRA  
Help! Help me! Somebody!  
  
Ghostface emerges from Debra's room and stalks toward her.  
  
Debra pounds on the door somemore, but still gets no answer.  
  
The cops that are supposed to be in the hallway are nowhere  
in sight.  
  
Debra slumps against the door.  
  
OFFICER  
Freeze!  
  
Debra looks up.  
  
A cop emerged from a room to the right of the killer.  
  
Another cop emerges from the room directly behind him.  
  
Ghostface raises his hands, still holding the knife.  
  
OFFICER  
Drop the knife!  
  
The killer makes like he's going to drop the knife, but  
turns and impales the officer behind him.  
  
The killer flees into the room the officer emerged from.  
  
The other officer fires his gun but misses. He cautiously  
moves toward the door.  
  
INT. HOTEL ROOM  
  
The cop walks in, point his gun and watching his back.  
  
He carefully checks the bathroom.  
  
NOTHING.  
  
He looks all around the room.  
  
NOTHING.  
  
Until he notices an open window, and goes to it. He looks  
outside.  
  
The killer has escaped down the fire escape.  
  
INT. DEBRA AND MARK'S ROOM  
  
CLOSE UP  
  
Mark's body as we  
  
FADE TO:  
  
INT. DEBRA AND MARK'S ROOM - LATER  
  
Mark's body is now laying on a gurney with a white sheet  
over it.  
  
Two members from the coroner's office lift it up so the  
wheels click into place, and then wheel him out into the  
hallway.  
  
INT. HOTEL HALLWAY  
  
Debra is standing next to Sydney, Gale, Dewey, and Det.  
Daniels, watching as they wheel Mark's body out into the  
hallway.  
  
Debra is crying.  
  
DEWEY  
How did the killer get in?  
  
DANIELS  
No idea. We had cops all over the  
place.  
  
DEBRA  
No you didn't! I came out here  
screaming and your cops took their  
sweet time! But what does it matter  
anyway?! Mark's dead!  
  
Sydney hugs her and she cries into her shoulder.  
  
DANIELS  
I'll go radio for more officers.  
We'll up the patrolling ones to six.  
  
GALE  
Thank you.  
  
DANIELS  
The best I can do.  
  
He walks off.  
  
The others enter the honeymoon suite.  
  
CUT TO:  
  
INT. DANIEL'S PATROL CAR  
  
He opens the door and sits down in the driver's seat.  
  
He sits back and sighs before he picks up the radio.  
  
DANIELS  
Dispatch, this is Daniels.  
  
DISPATCH (RADIO)  
What's up Daniels? Cody here,  
working the desk tonight.  
  
DANIELS  
We need another squad of police  
officers at the...  
  
The GHOSTFACE rises from the backseat!  
  
He SLITS Daniels' throat and the detective drops the radio.  
He slumps forward, dead.  
  
DISPATCH  
Daniels? Come back, Daniels?  
  
INT. HONEYMOON SUITE  
  
Debra, Sydney, Dewey, and Gale are sitting around waiting.  
  
Dewey is absentmindedly flipping through the channels.  
  
He finally shuts off the TV and stands.  
  
DEWEY  
He's taking too long. I'm gonna go  
see what happened.  
  
GALE  
I'll go with you.  
  
SYDNEY  
Me too.  
  
DEBRA  
I don't want to be left alone.  
  
DEWEY  
Okay then.  
  
They walk out.  
  
EXT. PARKING LOT - NIGHT  
  
Gale, Sydney, and Debra are standing back as Dewey checks  
out Daniels.  
  
Dewey stands.  
  
GALE  
Is he...?  
  
DEWEY  
Dead? Yep.  
  
A car engine REVS as a car speed through the parking lot,  
straight at Dewey.  
  
He dives out of the way.  
  
The car SKIDS to a stop.  
  
Ghostface gets out.  
  
He heads for Dewey.  
  
GALE  
Dewey!  
  
DEWEY  
Run!  
  
Debra panics and heads for the resort.  
  
SYDNEY  
Debra! Stop!  
  
Sydney heads after her.  
  
Gale watches helplessly as Dewey and the killer get into a  
fist fight.  
  
Ghostface draws his knife and repeatedly stabs Dewey in the  
gut.  
  
He falls over, onto the blacktop, in a growing crimson pool.  
  
The killer turns to look at Gale.  
  
She hauls ass for the resort.  
  
INT. HOTEL LOBBY  
  
There's no one in the lobby when Gale bursts in.  
  
She spots the door to the stairwell close and runs for it.  
  
Just as she runs through it, the killer enters the lobby.  
  
He sees the door close, turns, and goes in another direction.  
  
INT. HOTEL STAIRWELL - CONTINUOUS  
  
Thirty flights of stairs that lead to the roof. The stairs  
spiral up each wall, forming a square and a vertical drop.  
  
Debra bursts through the door and heads up the stairs.  
  
Sydney follows a second later.  
  
Gale busts through just in time to watch Sydney chase Lacy  
up to the fifth floor.  
  
GALE  
Shit.  
(shouting)  
Sydney!  
  
Sydney doesn't hear.  
  
Gale takes off up the steps.  
  
TENTH FLOOR LANDING  
  
Sydney tackles Debra. They go sprawling.  
  
Debra screams and kicks Sydney off of her.  
  
DEBRA  
Get off me! Let me go!  
  
She kicks Sydney again and scrambles to her feet. She  
charges up the stairs.  
  
Sydney goes after her.  
  
INT. HOTEL HALLWAY  
  
DING!  
  
An elevator door opens and the Ghostface steps out. He walks  
down the hall.  
  
QUICK CUT TO:  
  
INT. HOTEL STAIRWELL - FIFTH FLOOR STAIRS  
  
Gale hauls ass up the stairs.  
  
QUICK CUT TO:  
  
INT. HOTEL HALLWAY  
  
The Ghostface continues down the hall toward the door to the  
stairs.  
  
QUICK CUT TO:  
  
INT. HOTEL STAIRWELL - SIXTH FLOOR STAIRS  
  
Gale runs up the stairs.  
  
QUICK CUT TO:  
  
INT. HOTEL HALLWAY  
  
The killer reaches the door and shoves it open.  
  
QUICK CUT TO:  
  
INT. HOTEL STAIRWELL - SEVENTH FLOOR LANDING - CONTINUOUS  
  
Gale slams into the open door.  
  
The Ghostface walks out.  
  
Gale screams!  
  
The killer slashes at her with his knife, but she ducks.  
  
Gale speeds up the stairs, the killer in hot pursuit.  
  
TWENTY SECOND FLOOR LANDING  
  
Sydney tackles Debra again and manages to hold her down.  
  
SYDNEY  
Debra! Calm down!  
  
DEBRA  
Let me go! He's gonna kill me! He's  
gonna kill me! He's gonna kill me  
just like he did Mark!  
  
SYDNEY  
Unless you calm down and stop  
acting stupid he will get you and  
kill you!  
  
Debra gets a grip.  
  
Sydney helps her up.  
  
NINETEENTH FLOOR LANDING  
  
The killer trips Gale.  
  
She stands quickly, and he takes a swing.  
  
She ducks, and he swings again.  
  
She side steps.  
  
He tries to stab her but she moves...  
  
And the killer spins and smashes his elbow against her head.  
  
Disoriented, Gale stumbles backward and FALLS OVER THE  
RAILING!  
  
She manages to grab onto the railing.  
  
POV - ARIAL FACING DOWN  
  
She's dangling over a nineteen floor drop.  
  
NORMAL POV  
  
She screams.  
  
TWENTY SECOND FLOOR LANDING  
  
Debra and Gale hear it.  
  
They rush to the rail and look over.  
  
They see Gale hanging by two hands, and the Ghostface  
standing over her.  
  
Thet watch as the killer stab one of her hands.  
  
That hands lets go.  
  
NINETEENTH FLOOR LANDING  
  
Gale is now hanging by one arm.  
  
GALE  
No. Please...  
  
The killer stabs her other hand and she releases it from the  
railing...  
  
POV - GHOSTFACE  
  
AND PLUMMETS NINETEEN FLOORS TO HER DEATH.  
  
NORMAL POV  
  
SYDNEY (O.C.)  
No!  
  
TWENTY SECOND FLOOR LANDING  
  
The killer looks up and spots them.  
  
He begins to take the steps two at a time.  
  
DEBRA  
Shit!  
  
SYDNEY  
The fire escape on the roof! Run!  
  
They take off running up the stairs, the killer in hot  
pursuit.  
  
They make it to the  
  
TWENTY FIFTH FLOOR LANDING  
  
before Debra trips on a step and falls.  
  
Sydney doesn't see her and goes on to the twenty sixth floor.  
  
Debra screams.  
  
Sydney turns.  
  
The Ghostface is already there.  
  
He draws his gun and stands over Debra.  
  
DEBRA  
Don't kill me. Please, please don't  
kill me.  
  
Her plea is answered when he unloads an entire clip into her  
head.  
  
When he's done, whatever little bit of her head that's left  
looks like raw meat and Swish cheese.  
  
Sydney's eyes begin to cloud with tears. She's alone now.  
  
The killer looks up at Sydney.  
  
She opens the door and runs into the hallway.  
  
INT. HOTEL HALLWAY - CONTINUOUS  
  
Sydney runs into the deserted hallway.  
  
She looks around. Empty.  
  
She hauls ass for the elevator.  
  
The Ghostface enters the hall.  
  
CLOSE ON  
  
the button panel as Sydney hits the down button.  
  
She looks up.  
  
CLOSE ON  
  
the floor numbers. 5...6...7...  
  
Sydney glances over her shoulder.  
  
POV - SYDNEY  
  
The killer grows closer.  
  
Sydney looks back at the numbers.  
  
11...12...13... STOPS AT 13!  
  
NORMAL POV  
  
SYDNEY  
No! Come on! Come on!  
  
The killer draws ever closer with his slow gait.  
  
CLOSE ON  
  
the floor numbers. 14...15...16...17.  
  
The killer grows closer. He knows he has her.  
  
Sydney turns back to look at the numbers.  
  
CLOSE ON  
  
the numbers. 20...21...22...23...  
  
SYDNEY  
Come on goddammit!  
  
She hits the button.  
  
She turns around.  
  
The killer is so close that if the elevator doesn't arrive  
no she's screwed.  
  
DING!  
  
The doors open.  
  
She leaps in.  
  
INT. ELEVATOR CAR - CONTINUOUS  
  
She hits the button marked "L."  
  
The killer reaches the car just as the doors close.  
  
She sighs as the car starts moving.  
  
INT. HOTEL HALLWAY  
  
The killer turns and walks back down the hall.  
  
INT. ELEVATOR CAR  
  
The numbers count down.  
  
Suddenly..  
  
DING!  
  
The numbers stop counting down. The car is stopped.  
  
INT. HOTEL HALLWAY  
  
CLOSE ON  
  
the button panel. A BLACK GLOVED HAND...  
  
The GHOSTFACE!  
  
INT. ELEVATOR CAR - CONTINUOUS  
  
The doors open.  
  
Sydney screams.  
  
The killer lunges.  
  
Sydney ducks and runs.  
  
INT. HOTEL HALLWAY - CONTINUOUS  
  
Sydney runs down the hall.  
  
She spots an open door. She runs in.  
  
INT. HOTEL ROOM  
  
Sydney tries to shut the door but the killer busts in.  
  
Sydney runs over to the bed.  
  
The killer stops on the opposite side.  
  
She's cornered.  
  
The killer lunges.  
  
Sydney grabs a suitcase off the floor and swings.  
  
It nails the killer smack in the head.  
  
He grunts and falls.  
  
Sydney runs.  
  
INT. HOTEL HALLWAY - CONTINUOUS  
  
Sydney runs back to the elevator.  
  
CLOSE ON  
  
the floor numbers. It's back at 1.  
  
She turns and runs for the stairs.  
  
INT. HOTEL STAIRWELL - CONTINUOUS  
  
She runs up the stairs.  
  
INT. HOTEL ROOM  
  
The killer slowly gets up and stumbles from the room.  
  
INT. HOTEL HALLWAY - CONTINUOUS  
  
He moves to the stairwell.  
  
INT. HOTEL STAIRWELL - CONTINUOUS  
  
And up the stairs.  
  
EXT. PARKING LOT - NIGHT  
  
Police and EMTs speed into and skid to a stop in the parking  
lot.  
  
Police get out and rush into the hotel.  
  
OFFICER  
(to medical teams,  
re: Dewey)  
Go help him!  
(to fellow officers)  
Let's go!  
  
EXT. HOTEL ROOFTOP - NIGHT  
  
Sydney bursts through the door and slams it shut.  
  
She runs behind the concrete strutcure that holds the door.  
  
She starts to cry.  
  
The door OPENS.  
  
She stop crying.  
  
Silence... then  
  
FOOTSTEPS, approaching.  
  
She silently moves around the opposite side of the concrete  
structure toward the door.  
  
When she reaches it, she turns...  
  
ONLY TO RUN FACE TO FACE WITH THE KILLER!  
  
She screams.  
  
He stabs her in her pelvic region.  
  
Sydney stumbles backward, toward the raised concrete edge.  
  
She falls on her butt, her face contorted in pain as her  
muscles clench and she feels something die.  
  
SYDNEY  
(screaming)  
You killed me baby!  
  
Then it hits her like a sack of bricks. Only one other  
person knew she was pregnant...  
  
SYDNEY  
No...  
  
The killer crouches next to her.  
  
GHOSTFACE  
Give your husband a kiss.  
  
He pulls off the mask.  
  
BLAINE.  
  
SYDNEY  
(whisper)  
Why?  
  
BLAINE  
Why? I'll tell you why! Right after  
I spent all my time making sure  
Stab 3 would be a fucking  
blockbuster, I got inspired to  
write Stab 4, to tie up some loose  
ends. I spent two years, two  
fucking years on that script. Two  
years of editing, of revising, of  
writing, of making sure that script  
was scarier, and more intense than  
before! I spent all my time on that  
script. And then when that  
masterpiece, that work of art, is  
done, I present to the studio  
heads, and what do I get?  
  
He grabs her shirt and pulls her until they're face to face.  
He's strangling her.  
  
BLAINE  
The goddamn studio execs telling me  
Stabmania is dead and that it  
wouldn't sell! That it wouldn't  
make any money! And that did  
something to me Syd.  
  
He let's her go. She falls backward, gasping for air.  
  
BLAINE  
Do you understand what happens when  
a man pours his life, his essence  
into a work, when a man lives  
secluded for two fucking years  
working on something that is  
nothing short of a masterpiece,  
only to have it shot down? Do you  
understand what it does to someone  
when they're greatest work is  
rejected? DO YOU?!  
  
Sydney flinches at his sudden outburst of anger.  
  
When he speaks again, his voice is eerily calm.  
  
BLAINE  
That's why I found you Sydney.  
That's why I spent a year courting  
you. That's why I made sure you  
fell in love with me. That's why I  
made sure to publicize our our  
wedding more than Princess Di and  
Charles! All so I would make  
headlines when the Stab MRMs  
started up.  
  
Sydney shakes her head violently, not wanting to believe.  
  
SYDNEY  
No! I loved you!  
  
BLAINE  
(laughs)  
Love is a word that is passed  
around a lot these days Sydney.  
It's as easy to fake for men as an  
orgasm is easy to fake for you.  
(he looks at his  
knife adoringly)  
Here's another headline for you  
Sydney: "Sydney Prescott found dead.  
The killer still at large."  
  
She goes pale.  
  
Blaine laughs.  
  
BLAINE  
Of course the killer will never be  
found, and all the evidence will  
point toward no one at all.  
  
SYDNEY  
How? How did you do it? You were  
attacked! You were there when the  
phone calls were made! When Karen  
was murdered you were in bed with  
me, and when Carol was killed you  
were on the plane! As for the  
others, you were always here!  
  
BLAINE  
I might as well reveal it since  
you're going to die anyway. It's  
called the beauty of show business.  
You pick up some tricks. The phone  
messages were all recordings, set  
to play at a certain time, mostly  
when I was somewhere with an air  
tight alibi. The one who attacked  
me and killed Carol was nothing  
more than an upstart actor guillible  
enough to believe it was all a  
movie. He's attacked me in my  
hospital room and shot out the  
light. I switched costumes with him  
and blew his fucking brains out his  
fucking head and he fell. He's so  
messed up they'll have to believe  
it was me. As for sweet Karen, I  
slipped some powerful sleeping  
pills in your milk. You were out  
like a fucking light. I was able to  
climb out the window, commit the  
crime and be back in bed before it  
was even sunrise. I did that a lot  
Sydney.  
  
SYDNEY  
But I saw you get hit by the jeep.  
  
BLAINE  
Yes. That was my greatest  
performance. And you bought it,  
hook, line, and sinker. That's the  
only other part of this whole  
affair I faked... well other than  
the love and romance.  
  
Tears falls down Sydney's cheeks.  
  
SYDNEY  
You bastard!  
  
Blaine stands.  
  
BLAINE  
I know.  
(raises his knife)  
It's time for you to die, Sydney.  
  
He stabs her again and again. Each time in the stomach, the  
chest, or the sides.  
  
She screams.  
  
He raises the knife for the final blow.  
  
BLAINE  
I'll see you in hell.  
  
SYDNEY  
You first.  
  
She kicks in the butt, and he flips over the raised concrete  
edge.  
  
He flips over it and spins, trying to grab the edge.  
  
He misses and falls to his death.  
  
Sydney hauls herself up to look over the edge.  
  
Blaine is lying on the roof of a car. The roof dented in.  
He's dead.  
  
Sydney slides down onto the cold rooftop.  
  
POV - ARIAL VIEW  
  
SYDNEY  
(quiet)  
Help me...  
(quieter)  
Please...  
(whisper)  
Anybody...  
(barely audible)  
Help...  
  
FADE TO BLACK  
  
EXT. PARKING LOT - NIGHT  
  
Dewey's body is loaded into an EMT.  
  
CUT TO:  
  
INT. HOTEL STAIRWELL  
  
Gale's body in loaded onto a gurney.  
  
CUT TO:  
  
INT. DANIEL'S PATROL CAR  
  
Daniels body is slowly pulled from his cruiser.  
  
CUT TO:  
  
INT. HOTEL STAIRWELL - TWENTY FIFTH FLOOR LANDING  
  
A white sheet is thrown over Debra's body.  
  
CUT TO:  
  
EXT. PARKING LOT - NIGHT  
  
Blaine's body is taken off the roof of the car.  
  
CUT TO:  
  
EXT. HOTEL ROOFTOP - NIGHT  
  
Cops find Sydney's body.  
  
The same officer from the parking lot checks her pulse.  
  
OFFICER  
She's dead.  
  
TV  
  
NEWS ANCHOR #1  
Our top story tonight, Sydney  
Prescott is dead.  
  
Static.  
  
NEWS ANCHOR #2  
The Woodsboro Murders seem to have  
taken a new twist tonight, and are  
now being called the Honeymoon  
Murders as writer/director/producer  
Blaine Parker was revealed to be  
the man behind the deaths...  
  
Static.  
  
NEWS ANCHOR #3  
There were no survivors from this  
fourth rampage. This was a very  
bloody end to a very violent saga...  
  
FADE TO BLACK  
  
FADE IN:  
  
CLOSE ON  
  
a computer screen. A screenplay is on the screen.  
  
PULL BACK UNTIL WE'RE  
  
INT. SYDNEY AND BLAINE'S HOUSE - COMPUTER ROOM  
  
Sydney is sitting in the computer chair.  
  
Blaine is standing behind her.  
  
She was reading his script.  
  
SYDNEY  
Wow!  
  
BLAINE  
That's what the studio said.  
  
INT. SCREENWRITING CLASSROOM  
  
Blaine is standing in front of his class.  
  
BLAINE  
So as the clock on the wall says  
it's almost time to go, I have an  
announcement. For the rest of this  
year and possibly some of next, I  
will not be here. The studio has  
given me a go on Stab 5 and myself  
and Sydney are going to a small  
town so I can write and relax.  
But don't think this gets you out  
of your mid terms and finals. The  
university will mail them to me.  
  
The bell RINGS.  
  
BLAINE  
Class dismissed!  
  
FADE OUT  
  
THE END. 


End file.
